HARMONY 1 by Barrie Nettles : Berklee COLLEGE OF MUSICi Copyright (©) 1987 Berklee College of Music All rights reserved,HARMONY | Harmony deals with the study of chords and their relationship 29 one another The understanding of harmonic practice is essential to the uncerstanding of the language of music. As in learning any language, the f 0 in the learning process is the develooment of 2 vocabulary THE STAFE The foundation of our notation system is a grid of five lines called 3 staff The position of notes placed on the staff visually represents relative “highness” or “lowness* of pitches. SS “high low CLEFS Each line and space of the staff may be assigned a letter name. The letter names are arranged alphabetically in ascending order: ABCOEFG. The location of the letter names is determined by a clef placed at the beginning of the staff. The following example uses the F clef (also known as the bass clef). The F clef locates F below “middle C* on the fourth line of the staffHarmony | 2 The G clef, also known as the treble clef, locates G above “middle C” on tne second |ine of the staf? GABCOEF The C clef locates “middle C" on the middle line (or, in some cases, an the fourth line) of the staff. when two staves and the treble and bass clef are used together, the result is called the Grand Staff or Great Staff.Harmony | ‘Small lines called Jeger lines are added to extend the staff £. ge tle Hee Notice that the notes in the spaces directly below or directly above “he st do not need added leger lines. £ The same applies to nates in the spaces Deneatn or above the leger |ines r JEG EEG BBR BHO E ERIE EBS GEE IIE SEB BEB IOI IIIB EE ESRI IA ASA To summarize, pitch placement devices used tn music notation are: 1) the staff, wnich shows the high/low relationship between different notes. 2) the clef's, which locate pitch names given to lines and spaces of tne staff 3) the leger lines, which extend the five lines of the staff for higher or lower pitches.Harmony | 4 | | / F | AlB|cjD &; | | eras ete ee Ii | Fy tty “paeagesse Homework numbers: 1, 2, 3Harmony | 5 ACCIDENTALS, The foregoing information about the Grand Steff covers the letter names of the wnite keys on the Keyboard. What about the other five notes (tne black keys}? In order to maintain the integrity of the alphabet, the other five pit: represented 2s alterations of the basic seven pitches. The terms sharp anc flat, Sharp = 1/2 step higher, written as# ; flat = 1/2 written asp. A”C#" is the pitch 1/2 step above C and 1/2 sharp sign is placed before the note for reading purposes.Harmony a The names of the twelve notes in ascending order are: A At BC C# 0D DF E F This series of notes Is called the chromatic scale These notes 2/ the chromatic scale may 150 de examined in descenaing order AS with sharps, flats are placed before the notes ta wnich they aociv A AD G Gb F She c Db OF Eb bate re | F Gb_G? AD A# 8b 1 3Harmony | Once a sharo or a flat has occurred in a measure, there mi be 2 means of cancelling (neutralizing) it so the note reverts to its unaltered condition Ti symbol used for this is 2 natural ( # ). Collectively, sharps, f'2ts and naturals are cailed accidentals within an octave (eight consecutive letter names), there are twelve half-steos: LU — octave ——__ in certain situations, it may become necessary to raise or lower 2 aitch by two half-steps. The symbols for these purposes are X for a double-sharp and bp for adouble-flat. These symbols are also called accidentHarmony ! 8 FER EERE EIEIO HER III ESA A GER FREER HIRE EIEIO SOI IESE NASIR III HS The rules for sharps (# ), flats (D ), naturals (4 ), double-snaros x), and douole-flats (yp) are: » w a A natural cancels a sharp or flat. A single sharp or fiat will cancel a double-sharp or doublet! respectively, One natural alone will cancel both double-sharos and couble-flats An accidental remains in effect for the duration of the measure it 13 in, or for the duration of tied gitches, inside 3 measure or across the bar-line, To raise 2 note which has already been sharved, use 2 couple-sharp, to lower a note which has already been flatted, use a coudie-flat An accidental ONLY affects a specific note, in that octave, in that clef. All other notes of the same name are NOT affected Homework numbers: 4, 5, 6, 7, 8.Harmony 1°°9 A scale is 2 series of ascending or descending notes in a stepwise pattern This Is achromatic scale. It uses all the notes between the F's and all the pitches move by 1/2 step. (Chromatic impites "1/2 step.") The following scale uses all natural notes in an octave from > ————— C major scale. The same notes can be used to begin and end at different points in the order of notes: Dtod Ete FtoF re - D Dorian E Phrygian - F Lydian G Mixolydian A Aeolian B LocrianHarmony | 9 All of the above are scales, out they're not the same kind of characteristics of the C major scale above are the 1/2 steps from the Ird tc 4th degrees and from the 7th to the ist degrees. The distance between th other notes is 2 whole step (two 1/2 steps). In the other s above, the nalf-steps (from E to F and B to C) occur in different car: respective scale, This creates a collection of related modes. The modes shown above are all relative to the C major means that each mode starts and ends on a different note of the 2 major scale, ere again is the C major scale SS on oe 7 if this Stepwise pattern 1s applied starting on G, the result 1s 26 major scale. all major scales utilize the seme steowise pattern, :J Harmony | iWHarmony 1 12 HARACTERISTICS SCALE 1/2 steps between degrees (Paraltel to "C*) lonian (major) 3-4; 7- —————— ra SS SS Corian = 7 = Lydian 4-5; 7) q : | < 4 < 4 , Mixolyaian ean 2356 See 3 Sra cocrian 1-2; 4-5 — SeeHarmony | 13 Scales may also be described by comparing them to the parallel major or minor scale. a Thus, Dorian mode may be cescribed as a minor scale with the Sin degree raised: (a) epee eee Phrygian mode may be described as a minor scale with lowered: (2) ie ie + Lydian mode may be described as a major scale with tne 4th degree +: A) a + Mixolydian mode may de descrived as a major scale with the 7tn aegree lowered Me Aeolian mode (also known as the minor scale): aap ee Locrian mode may be described as a minor scale with the’2nd and Sth degrees lowered: (b) @ =Harmony ! The minor scale (Aeolian mode) is also known as “natural” minor or “pure” minor: ete The harmonic minor scale may be described as a minor scale with cegree raised: a) se The melodic minor scale may be described as a minor scale with the 6th and 7th degrees raised in its ascending form; in its descending form the melodic minor scale reverts to pure minor: The major pentatonic scale is a five note scale. It contains scale degre 1, 2, 3, 5, 6 from the major scale, and does not contain any nalf-steos. & == Homework numbers: 9, 10.Harmony | 15 KEY SIGNATURES. Key signatures aliow us to place the required accidentals of the various scales at the beginning of apiece of music. They are placed directly to the right of the clef. the accidentals to be used for all the affected notes. the key signature at the beginning, the key is recognizable immecizteiy even Hf there is a iot of subsequent chromatic alteration, oe pear S See Refer to the homework for scales. The sequence of exampies was not arbitrary (C, G, D, A, etc.). This sequence is the result of a phenomenon which you will see throughout the study of music. [t is called the cycle of Sths To be logicaily sequenced, the building of key signatures follows the cycle of Sths. The placement and position of the flats in a key signature feilows the cycle down in fifths: Bb Eb Ab Db Gb Cb FbHarmony 16 The placement and position of the sharps in a key signature follows the cycle up-in fifths: ee The key of C= has 7 sharps; ali notes are sharped —— In order to be immediately recognizable, key signatures must aly placed consistently on the staff RIGHT WRONG = The best way to recognize any Key 1s to know the numoer of sharps or flats used for it. Another way to recognize the key signature Is 1) For flat keys, the key 1s represented by the flat BEFORE the last flat: 2) For sharp keys, the key is a half step ABOVE the last snara. =cF mmm a The key signature of one flat is F major. The key signature of no sharps or flats is C majorHarmony | Note that there is no necessity to use leger lines for the piacement of any accidentals ina key signature. Unlike the general rules concerning zne use of accidentals, key signatures affect all notes of the same name regardless of their octave. Homework number: 1 i- Harmony | 12 INTERVALS. The relationship of adjacent notes in all the previous scales is a whole-step or half-step. As part of our vocabulary, we need 2 method to identify the relationship between any two notes. In order to do this, we need 2 logical means of snowing interval from one note to another e distance, or A simpie numerical means of accomplishing this is to count each 0: staff degree between the two notes to find which number the top oite: represents. ns = e oS > 3 > Sth ath 123 4 = 1203 4 = 4th The intervals in a major scale between the first note and the otner notes are SS e perfect major major perfect perfect major ~—=major-—per fect unison = 2nd 3rd th Sth 6th 7th octave if 2 major interval is made smaller by 2 half~steo (by lower'ng the ton note or raising the bottom note) the major interval becomes minor: minor ‘minor minor ‘minor 2nd, gra 6th 7thHarmony | 19 NOTE: Intervals may occur as metodic intervals (one note following the other), as the minor 2nd and minor 3rd in the above example, or as harmonic intervals (both notes together) as the minor 6th and minor 7th above When a minor or perfect Interval ts made smaller by a half-step, 1: diminished: pecomes + F a DS dim, dim. dim. dim. - 4th Sth 6th octave Notice that in ali intervailic relationships, one must first count the number of staff degrees Invoived, and then qualify the relationship. Major and perfect intervals made larger by.a 1/2 step are called augmented intervals: oe So oe = a aug aug aug. aug. aug. . aug. aug aug unis. = 2nd rd ath sth 6th 7th ot. eaeHarmony | 20 Diminished intervals mace smailer oy an additional naif-stea secome double diminished: oe ze re couple double double: dim. Sth dim, 6th dtm. oct, Augmented intervals made larger by an additional half-steo become double augmented: a > i couple couple aug. 3ra aug. 7th : It 1s also possible to nave an interval which exceeds the octave: zg 4 This interval is called a ——= major 1oth ——————— (or 2 major 3rd plus | octave). RRA ERR REA EE en ee eee 4 Here are the basic rules ana names (when examining the distance from the first note of a major scale upwards): 1) 2nas, 3rds, 6ths and 7ths are major intervals. 2) Unisons, 4ths, Sths and octaves are perfect intervals. Dv Major intervals made smaller by 1/2 step become minor 4) Major intervals made smaller by 2 half-steps become diminisned. 3) Perfect intervals made smaller by 1/2 step become diminisned. 6) Perfect intervals mage smaller by 2 half-steos become gouble-diminisheg. 7) Major or perfect intervals made larger by 1/2 step are augmented, by two half-steps they become double augmentes, Homework numbers: 12, 13.i Harmony 1 21 NVERSION OF INTERVALS. intervals describe the distance between two notes. The notes involved can appear and sound in two ways: n other worcs, any interval can be turned upside-down (Inverted) =>: the inversion of ana vice versa 7 e when an interval is inverted, the note names involved are still tne same, and the intervailic relationship follows a pattern, in the above example, one interval is a major 2nd; the inversion is a minor 7th. Some simple rules for inversion of intervais follow n “S* minus the number of the interval equals the inversion interval: Qminus 2nd) = — 7¢th) Qminus 7th} = 2nd) 2) Major intervais inverted become minor intervals: SS Major 3rd Minor 6th 3) Minor intervals inverted become Major: =e Minor 6th Major Sraue In order to correctly produce an inversion of any interval, the pe must de raised one octave or the top pitch must De lowered one octave. inversion of a oerfect unison becomes a perfect octave and vice versa Harmony | en Augmented intervais inverted become giminished: SS sug. 4th Dim. 3ra 3) Diminished intervais inverted become augmentes, \ fe 7 Dim, 3 Aug, 6th 7) Double diminished intervals inverted become double augmented Double Double Dim. stn Aug, 5th 8) Doupie augmented intervals inverted become dou bs Double Double ‘Aug. Sth Dim. 4th —J————= S minus {(unison) = 8 (octave:Harmony { B The tritone interval (augmentee 4th) is a special case. Unlike any other interval, when It is inverted, the number and qualifier change, but 't remains a tritone. = 1g an augmented 4th (tritone - 3 whole stens) = 18.2 diminished Sth (still tritone - 3 whol Homework number: | 4,Harmony | a4 ve have looxed at netes alane in scale situations anc interval situations. Now, we wi'l place thr Y The terms usea to descrise three note cnorcs will major, minor, augmented, ant diminished (°P: intervals). hree Mote chords are called triads. The oasic duilaing ce forte tne Intervai of a Sra, To start with, the major scale wit! be u ee Above each note in the scale wili d@ clacec two mere 31 a Ire above the note from the scale ine second pitch a Ire 2 piten: pitch secend Ali tne pitches used to build the chards are from tne key ef C major. They are glatonic to ¢ major he diatonic triads in the key of C major contain three of the four 26: triagic chore structures (majer, minor, and dimintsned), 'f the relationships within each chord are studied, these three chora types. characterist:cs can oe seen: 1) Majur triads: chords with intervais of a major Zr¢ from the reot épottom note} to the middle note, and @ serfect Sth from ths root. tne top note: 2) MINGR TRIADS. chords wiih intervals of 2 Minor 5rd and perfect Sun from the root respectively: Omin Emin AminHarmony | 25 3) DIMINISHED TRIAD @ chord with an interval of a miner 3rd ang diminished Stn, respectively: B dim Note that in all cases, the letter name of the triad signifies the Sottom note. This note ts called the root of the chord In addition, each chord will be identified with a Roman numeral reeresenting the scale degree of the bottom pitch: I maj I min [imin IV maj ¥ maj YI min VII dim | maj oe Here are some universally accepted aboreviations used for triads: C = C major triad. Optionally "major" or its abbreviation “r appear: i.¢., C major or C maj. J" may “min” is the abbreviation for minor, Also used, though not universaliy, is the minus sign *~ “(which will remain the choice for this course). “A minor” will be notated In this course “A-." Diminished is represented best by “dim” or a small circle above the triad name, 2; 8 dim or 8° The diatonic triads are: Imaj limin Illmin IVmaj Vmaj Vimin Vil dim 1 maj 1 He He Iv v vi vir?Harmony | 26 The fourth type of triad, besides major, minor and aiminisnec, is the augmented triad. It is abbreviated either ‘aug’ or" +." The augmented triad- has a major 3rd and an augmented Sth from the root: te Ar Ebr Bb> O+ SS The augmented triad is not diatonic to any discussed later. jor Key. It3 usage will be There is one more type of chard. It is a very common chord in contemporary music, and it doesen't fit the normal pattern of stacked thirds. it is the “suspended 4th” chord. The chord symbol used is sus4. A suspended fourth chord (sus4) is 2 triad in which the 4th degree replaces tne Ire decree: Gisus4) G-(sus4) To summarize; maj Major triads are constructed with major 3rds and perfect Sths from the root: Minor triads are constructed with minor rds and perfect Sths from the root cam Diminished-triads are constructed witn minor 3rds and diminished Sths from tne root: ce Augmented triads are constructed with major 3ras and augmented Stns from the root: = Homework number: !5. HlHarmony 1 27 CHORD CONSTRUCTION (CONT'D) SEVENTH CHORDS The logical extension of a diatonic triad ts the addition of another diatonic third adove the fifth of the triad The result is a diatonic seventh chord which contains a diatonic 7% above the root. In triads there are only three intervallic relationsny to 3rd, root to Sth and 3rd to Sin, With the added pitch of 7th ci complexity doubles: root to Sra, Sth, 7th; 3rd to Sth, 7tn, Sth to 7th chords are more complex than triads. 7th, Thus, Chords with a major 3ra, perfect Sth and major 7th from the root de maj? Fmaj7 major 7th chord 7 Chords with a minor 3rd, perfect Sth and minor 7th from tne root define a: minor 7th chord Acchord with a major 3rd, perfect Sth and minor 7th from tne root defines 2: G7 dominant 7th chord A chord with a minor 3rq, diminished Sth and minor 7th from the root defines a 8-7(b5) chord 7Harmony ! 28 it helps to compare these seventh chords with the triads on which they are butlt: a The chords built on C and F are major triads with major maj? Fmaj7 = The chords ouilt on OD, € and A are minor triads with minor 7ths' 0-7 £-7 A-7 eS The chord built on G 1s a major triad with a minor 7th: G7? S= The chord built on B is a diminished triad with a minor 7th: B-7(bS) + = 7 The chord symbots for seventh chords which will be used in this course are: maj 7= major triad w/major 7th 7 = major triad w/minor 7th -7 = minor triad w/minor 7th -7(b5) = dim. triad w/minor 7th The diatonic triads in C major are: Imaj? N-7 0 N-7—WWmaj?_ V7 I=? it-705) Cmaj?7 0-7 E+? —Fmaj?_—« G7 A-7_— B05)Hermony | 23 There are other 7th chord structures which are not diatonic to a major key" The +7 (augmented 7th chord) which consists of an augmented triad with a {| minor 7¢n G7 a= 7 The °7 (diminished 7th chord) which consists of a diminished tried with a diminished 7th: C dim? in the diminisned 7th chord, the diminished seventh interval is Note: sometimes written enharmonically, Cdim7 or: Cdim7 The minor/major 7th chord [symbo!: -(ma}7)] which consists of @ minor triad with 2 major 7th: (maj7) Notice in the chord symbol, the “~" reoresents the basic chord sound (minor) while the "(maj7th)" indicates the 7th quality, The parenthesis 1s necessary to Keep minor ana major from being confused.Harmony 1 30 The major 6th chord and the -6 (minor 6th) chord which consist of a major or minor triad respectively and an “added” Sth degree cé c-6 S— The dominant 7(sus4) chord which consists of 2 suspended 4th triad with a minor 7th: Gi(sus4) G-7(sus4) Homework number: 16.Harmony | 31 Z INVERSION OF, The basic rule for inverting triads Is the same as that for intervals: oring the Dottom pitch up an octave, There are as many positions of inversion for a triad as there are notes In the chord (7.2. “26 in a triad). oF Cc = if the root is positioned on the bottom (where it would normally De for ‘naming purposes) the chord is in root position The first inversion Is accomplished by bringing the root up an octave SS The second inversion is accomplished by bringing the root and the 3rd uo an octave: : SS One more inversion would bring the chord back to root position. Notice that there are three possible choices for the Lop note of any triad.> - Harmony | Since seventh chords conta! possible: n four notes, there are four positions of inver 1, Root position: 2, 1st inversion with the root on top and the 3rd on the bottom a 3. 2nd inversion with the root and 3rq brought to the top anc ‘on the bottom: 4 3rd inversion with the root, 3rd and Sth brought to the too ane the 7th on the bottom v7 as Homework numbers: 17, 18, 19, 20. Ca LHarmony | NSION! Consideration is now given to further extensions of the 7th chord: Cmaj7 -~ + = SSS Chords larger than 7ths exceed an octave and create intervallic re! which are much more tense than the simple octave-or-less intervals and 7ths. ‘onshios iriags No matter what the inversion is, all the intervals in a triad or 7th ov an an octave in size. Triad: Plus added 7th: There are now 21 intervals in this chord! A 7th chord in root position has 6, a triad 3, The number of intervals has more that tripled from those of the 7th chora, while the 7th chord has only twice as many as the triad. In adcition to the intervals which are less than one octave, there are now compound intervals (the 9, Iith and 13th). Some facts about these extended 7ths chores should be recognized: I. The added pitches are nat chord tones af the 7th chords; 2. They create tense intervallic relationships with the chord tones.Harmony | 34 Because of this tense relationship with the chord tones of the 7th chord, these extensions are called tensions. |, 5, 5 and 7 are the chord tones; 9, 11 and 13 form the basis for the chord's possible tensions. Here is aC maj chord with its possible tensions: < a !3 == The 9th (D) is a major Sth above the root; the 11th (F) is a minor 9th above the 3rd; the 13th (A) is a major 9th above the Sth. The tensions wnicn sound best will be those a major 9th above a chord tone. (A minor 9th interval is extremely harsh sounding.) in the following examples all tensions are chose 2 major 9th above the chord tones: = Note that the “F” has deen sherged SSS in order to create the mejor 9th e interval. maj th maj 9th ma} 9th The 13th (A) Is a major Sth above the Sth; #11 (F*) 1s a major 9tn adove the 3rd; 9 (D) is a major 9th above the root. Notice that tension 711 is not identified as “augmented 11." Tensions are ladeied as follows: 13 Fil cmaj7\ ¢ The chart of available tensions for all chord changes is on the following page. Most of the available tensions are those which are a major 9th above a chord tone. Any available tensions that are not a major 9th above a cnord tone are listed separately as exceptions. Maj7 {5 incluced In the list as a spectai tension situation avatiabie on certain chord structures. =Harmony | 35 AVAILABLE TENSIONS. XCEPTIONS TO THE "AVAILABLE AVAILABLE TENSIONS Frias 9TH ABOVE A ae TENSIONS oe HORD™ TORE RULE maj (triad) | 9 min (triad) 3 aug (triad) | 9,011 (or BS) ‘All available tensions must be a maj Sth ebove each chord tone dim (triad) | and diatonic to the key. ) M sus (triad) 11 fas chard tone) 3 may ma. en min 6 maj?, 9, 11 ‘maj? (as chord tone) maj 7 913 mM ‘maj? (aa chord tone) min(maj 7) | 9.18, 13, 15 not availaole except min 7 u 3 in Dorian mode content min 7005) 11,013 3 9, Siete nate 1, ae poe 99,49, dStsee m0 BI Tas chord tne) : : dom 7tsusay | 3315 & \very carely: $9,°313 a7 3,111 (or 95) ‘Ail available tensione must be a maj Sth above each chord tne dim 7 and diatonic to the key.. Note t - DS is a special tension situation involving an alteration of the Sth. Note 2 - The available tensions on dim 7th chords are not numbered 9, 11, 13, etc. Unlike other 7th chords, a major or minor 9th above each chord tone results in four possible tensions, not three. The numbering system to 13 will not work here. Specific available tensions for dim 7ths will be shown when the chords are snown in context. i :1 | Harmony | 36 FIER IETS III HOI II II IIIT IIIA AEA REGIE JERE ERE HSH EHH IES IR HEIEEE rv of Available Tensi Tension: Avatlabie on: maj7 maj?; ~(maj7); majé; 9 All chores (when diatonic to the key) 9 ana/or #9 dom?; rarely, dom7(sus4) i all forms of minor chords; as a chord tone on dom7(sus4) = maj7 and maj6 when diatonic to key; dom?; +7 bis +705); dom7 13 maj7; ~(ma}7); dom 7; dom?(sus4) Chord symbols used to show tensions fall into two categories 1) The listing of tensions which are not diatonic; (> 2) The optional “courtesy” listing of tensions which are ciatonic. Q Tensions which would not normally be availabie MUST be included in the chord symbol: Cmaj7=1t) s 7 € maJ7 In C major implies only 9 and 13 availability. C maj7(*i1) would indicate use of a non-diatonic tension. Homework numbers: 21, 22.Harmony ! a QIATONIC HARMONY i ri iatonic control factor is the relationship between the roots of the chorcs. called root motion and falls into three categories !) The strongest dtatonic reat motion is movement down in Sths (tne cycle of Stns) imaj?_I¥maj7_ Vi-7(0S) 1-7 VI-7 Gmaj?_ Cmaj?_ F#-7(b5) B-7 E-7 Ae The tensions available are determined by the function of the chard in the kev the tensions that aré diatonic to the key and the tensions th above a chord tone, meses Can) CH) Ox) @) V7 to Lis the strongest diatonic root motion in the key, therefore it r a special analysis symbol elves v1 The arrow will alw: i ri perfect fifth. 2) Root motion down a diatonic 4th is also strong although not as strong 2s root mation down a diatonic Sth. W7 We? viele owHarmony t 38 3) Stepwise root motion is a little more subtle than root motion af 4ths and Sths. WV Visus4) Vie ¥77—™ C_O7(sus4) E- 07 —-# - 4 4) The other diatonic root motion is down or up in thirds. Movement down is more common than movement up. vie IVs 1 Weil WW Vie v(sus4) G —& CA G6 B- AC E- _ Disus4), on sa z= = i A et ~ eo in reviewing all of the previous examples, take note tnat they are repeated. if an ending point 1s sought, the best final chord will be the | chord. The 1 follow hord because it r point of harmonic arrivaHarmony | 39 V7(SUS 4) CHORDS The V7(sus4) chord is usually built on the dominant degree of the key: D7(sus4) SS = 12 3 45 The strength of dominant resolution lies in the root motion of a perfect Sth down. Since the V7(sus4) does not contain a tritone, its diatonic function is dependent on context: Imaj?_(Vmaj?_ V7(sus4)-N6_V7(sus4) Gmaj?__Cmaj7_D7(sus4) G6 _D7%(sus4) 07 Another observation concerning the V7(sus4) chord can be seen if the structure is categorized as having a subdominant upper structure (since the tritone is not présent). The chords sound suddominant but the root is dominant. NeT, Wmaj?, Sof key Y% of key A? Cmaj?, D bass O bass The above two chords each contain 2 subdominant sounding upper structure ang the dominant degree of the key as their root.Harmony | 40 - These chords are common tn contemoprary tunes: iy Iv ivmaj7 Sof key fat key 7 ‘(add9) c maj? ‘Haae9} Wa bass "A bass — 11-7 over 5 of the key and IYmaj7 over 5 of the key are both subtle versions of V7(sus4) and snouid be analyzed as sucn: Vitsusd) 1 a? Vows ss) —- The I!- (ll-7) over 5 of the key and the !V (IVma}7) over 5 of the key can be seen as chord structures derived from the extended structure of the V7(sus4): Ay. AT 7 % ay, D7tsus4), 11,15oy H REHASMONI ZATION Diatonic charas have vames based of the loc scale. The | chore is c2liee tonic; the V crord 12 dominant, tae IV chor cailec subdominant. AU diatonic chords can be categorized as sounding in one of categories: 1 (tried) We ye Tonic: He Y (trisd? Subdominant: swmay? ; ie ied) Wiewm . Dominant: vile rts) == =i i \ M6 ¥7(sus4] TS o> D7fsuse) 3 dy substituting other cherds possibie to reharmanize tne above exampie, The end result w chord progression which sounds similar te zn2 origin: Dominant ret wiih suadominert uoper cructure oe ® =tow 5 Dy= ‘so © =Tonic Gd) =suBDCMIHaNT (DY = DOMINANT oj Tom the same functional sound cai In comparing these two progressions, some important facts must be consicerec: 1) 2) D tne roct motions are not the same, though the melodies are; tne melogy anc renarmonization choices must be compatable; the original resolutions of the two dominant chonds are no longer gown a perfect fifth (the normal expected resolution for V7 or VXisus4) is cown a perfect fifth to the | chord)Harmony | 43 vie Vitsusa) 1 O7Isusa Notice that the analysis symbols for the “deceotive” resolutions of W7 to [1|-7 or Vi-7 are different from those for the resolution of V7 to |. The root motion is not down a perfect fifth, so there {s no arrow. The analysis symbol is: V7/I, V7/1 means V7 of 1; V7 is expected to progress to I, but resolves deceptively (deceptive resolution) to another tonic chord. ~Harmony | 44 CADENCE The term cadence means melodic and/or harmonic movement to a goint of rest. That point of rest is the cadence. Dominant cadence: so O22 2 ,@ 9 ! YI Eb: vat B V7 * sna? 07 Gmaj7_—«BBT_ Ema? FF Bmaj7 Subdominant cadence: O@O O@®O O@® @ O@ © Pm oF me me eo at — : A subdominant to dominant to tonic progression Is considered a ! full cadence since ail the functional sound groups of the key are represented: IV to V to | Is the traditional rull cadence. $0) ees a) 6Harmony | 45 Other cadential vartations are possible: IV to Visus4) to | is subtle since there is no tritone involved: WV ¥(sus4¢) 1 C D(sus4) 6 IV te IV/dominant root to | is even more subtle because the moticn ‘rom the **+ subdominant to dominant only involves root metion from IV to ¥ of the xey: IV Visus4) 1 The 11-7 to V7 tol cadence is very strong since all the root moticn is cown in perfect Sths, This particular variation of the full cadence is so strong that some styles of contemporary music rely on it aimost exclusively’ 6 te? V7 ray? Fie? V7 imaj7 A707 6maj7 o7. 07 Fmaj7 vis imaj7_ 7 Boma)? v7 —simaj7 07 maj?Harmony ! 46NAM + =e zFs77 xa74 2) Notate the melody in ex, above, in the bass clef. Use when necessary Goth examples should sound exactly the s olano. er lines, 3) Identify, by pitch name, all the following notes in two of the C clefs. NoteHARMONY | HCMEWCRK = eeeNAME EE EEE EEE EEE EE EEE eb Ee eEE EEE PEE HARMONY | HOMEWORK, 4) write this snort melody: 7 sre =) ze One octave BELOW: SSS Two octaves BELOW: SS 7 3. One octave ABOVE SS 4 Two octaves ABOVE:NAME. : HARMONY | HOMEWORK SO 5) Notate chromatic motion between the given pitches. Observe the rules governing accidentals, 6) Rewrite the previous example 1/2 STEP HIGHER. MtNAME. SSH EEE EEE HARMONY | HOME’ 7) Identify by name all the pitches. Then, place the number for all n the chord on the aporopriate key of the Keyboard below. The 1s completed. tes of muooLe “c*=) . INA cued ope ue eee HARMONY | RCM 3) Complete the following enharmonic pitch chart: Natural Sharp Flat Ooudie-sharo Notation: Notation: Notation: Notation: 5 — =BAR ESS eee HARMONY | HOMEWORK $) Compiete the following chart of majcr and mingr sca’es. Indicate the 1/2 steps. Do not use ennarmenic spei Do not mix shares with flats: slumber of ‘sharps or flats necessary for related major and minor: MAJOR SCALE, BELATED NATUSAL MINDRWY OMEWORK MAUOR SCALE Sumber of sharps or fatsett HARMONY 1 HOMEWORK SS. MAJOR SCALE, RELATED NATURAL MINOR: Number of sherps or flats:PR ee eee HARMONY | HOMEWORK 56 10) Identify the following MODES: F Dortanit] Vy lp gAnPARBBnnnAGnSsnnRRRABBSSnRannnneens HARMONY | HOMEWORK ST - 11) Write the key signatures for the following keys and ident missing tonality: & major — major D major 30 major D_minor — minor S 7 — major €b major — major —Mmajor am F? minor minor C# minor # miner ——SSSS SSS — major major —major Cb major A minor — minor A minor — minor 7 — major 6b major major major O* minor minor G* minor 30 minora HARTIONY | SOME WORK 33NAME HARMONY | HOMEWOSK: 12) Complete the following chart of intervals from the key of Eb. Keep the highest pitch diatonic. Use the appropriate accidentals, Oiatonic Ciatonic interval Diatonre intervai Interval recuoea oy ncrasced Dy 122 step: 1/2 stea: nin 2nd sim ang na 2 fal ! ! SyrE er 1 i 1 Fee £ eerNAMELESS EEE eee SSE eee : Btatonte Diatenic interval Interval: reduced by 1/2 step) HARMONY | HOMEWORK 2 Diat increases ov{7 { -SSRMAISEAARSSSSRSESSESISAAARSOREONROE HARMONY | HOMEWORK 61 Diatontc Diatonfe interval Diatonic interval interval: reduced by ‘increased by 1/2 step: 4/2 step:[Vir -Sunnasuneneesnnnssesneeeseseensnnneence HARMONY | MOMEWORK 62 13) Rewrite this melogy: Amajor 2nd higher: S55 v7 2) A major 6th nigher: ——————— 3) A major 9th lower (in bass clef}: SSS] 4) Amajor 13th Tower i 5) A minor Srd lower: SSS) 8) A perfect th nigner| suSBBEBESESESIEESESSSSSESEESSSESEEEEED HARMONY | HOMEWORK 63 14) Complete the following chart of intervals and their inversions clatoni¢ to the Key of G. Label the intervais: Diatonte Inversion of Diatonte Inversion of Interval: diatonic interval: interval: distonic interval min 2nd ‘maj 7th a= ———— =e(Ex. 14 continued:) Diatonte interval: HARMONY | HOMEWORK 44 Inversion of anatonte interval:iS) Construct the indicated TSHADS in enharmonic scelling. ce Cau eo Bo- Soe foam 8 e $ _ Ab- ADaug Andi aD(sus4) DD Od- — Deaug Coam dar suse eb Ge- Gave Cb dim Gd(sust) Cd ea Cbauq Chaim Che sus _——— Fe Fe. Faq F2 aim F(sus4) 8 8- Bag Sain 3 SSS & fag Ecim E(susd) A A> Aaj Agim ACsust) ——————_—— d- Daim (sus) 6 G- Bag Gdim GC sus4) ——HARMON | HOMEWORK 86NAME : ct the indicated SEVENTH HARMONY | HOMEWCRK RDS in root o ion c=7(05) 7 aug? c7(susd) £b-6 e-7HARMONY | HOMEWORK 63 £07 fb aug 7 Ed7(sus4) ED aim? SSS ab maj7 ‘Ab-( maj?) ADs An-8 Abe? ——————— fees) Ab? ab aug? Av7(susd) AD aim? ——— Ob maj7 Db~(maj7) Db6 Ob-6 Ob-7 aa re 00-7(35) on7 Db aug? 007 sus4) Dp aim? 7 Gb ma\7 6b-(maj7) 6 30-5 o-7 4. 6b-7( 05) 607 6b aug? ab7( sus) Sp aim?d RAE EEE EEE Ee EEE EEE eee EEE EEE PEE HARMONY | HOMEWORH cb maj? co-(may7) 06 ca +7 b- 7005) a7 Cb aug? 0b7(sus4) Co sim? Fama? F=-(maj?) F=6 Fe-6 F#~7(08) FS7 F= gug? F=7(sus4) 8-798) 87 B aug? 87(sus4) 8 aim?j 4 Eau? HARMONY | HOMEWORK E7(sus4) Eam? Ama}? A~{maj7) a6 Daug? 07(sus4) 6-705) 67 Sam?NAME. HARMONY | HOMEWORK Ti 17) Realize chord symbols for the following triadic chord structures: “sat ig ae [= Fr [NEY a on =~ NAME. HARMONY | HOMEWORK 72 18) Complete this triadic chord progression by adding the remaining chord tones beneath the melody pitches. Then indicate, beneath the chord, the inversion using the following = [st inversion; 2 = 2nd inversion R= Root position; 1 A 0 6 aug 6 F aim = £ be g@ 2 ; a 7NAME SEES See HARMONY | HOMEWORK 73 i) Realize chord symbols for the piano harmonizations below. All choras have their roots in the bass clef Cmaj7NAME CoE eee ee eee eee HARMONY | HOMEWORK 74 {7 20) Complete this harmonization of the cycle of fifths py placing the 2 remaining chord tones beneath the melocy pitches. Then indicate the inversion for each chord. R= Root position; 1 = Ist inversion; 2 = 2nd inversion; 3 = 3rd inversion 0-7 G7 € maj? Bb6 C7(sus4) F6 4 1 + 5 : ¢ 22 8 c-7 7 Bb maj? F-7 8b7 &b maj7 SS : = Db6 = Eb7 Ab maj7, Gb6 Ab7(sus4) Ob6 za bod z Ab-7 0b7 Gb maj? et eee 86 ie + 2 + FE ¢ vet] : F#-7(d5) B aug? E-(maj7) B-7(b5) Eaug? 9 AS = €-7(05) A aug? D-(maj7) A-7(bS) D aug? G maj7 \RARE Eee eee eee eeeeeeee HARMONY | HOMEWCRK 75 21) All the melody pitches below are available tensions. Incicate the tension number for each note: 7 ar? 07 8-7 7 87 A-T 0? G maim \ : aF 6b maj F maj? Ab maj 7 6 maj7 ae oe C#=7(05) C-(maj7)_ 8-7 807 Eaug? aT FT 806La i NAME Realize chord symbols for this plano part tensions being used, Al} chor: HARMONY | HOMEWORK 7S Place in parenthesis the $ are in root position.HARMONY 2 by Barrie Nettles COLLEGE OF MUSICCopyright @)1987 Berklee College of Music. All rights reservedten HARMONY 2 SECONDARY DOMINANTS, The strongest characteristic of dominant resolution is root motion cown @ perfect fifth, The “primary dominant” in the key of C is G7: ga C The “secondary dominants" in the key of C are V7, v7, Li ie? Au HI-7 WW ivmaj? AI™ “0-7 B77 E+? 7 “Fmaj7 = = i ESS SSS SS ar e v7 aT Vi-7 a7 A-7 A dominant chord's resolution may be to ANY quality of chord a perfect fifth iower except a diminished 7th chord: 67*cmaj7_ G7 C-7_— GT CT 77005)Harmony 2 2 The chord of resolution could therefore be any diatonic chord in a major or minor key. c tmaj7 &: vmaj7 8b: hie? 6? "cma j? 677 “tma}7 677-7 solves as expected (down a perfect fifth t resolution. When 2 Secondary dominant diatonic chord), an arrow is used to show The analysis of a secondary dominant will reflect its expected diatonic chord of resolution: F: eb A v7 Wn vir 67 C7 or c-7 zz As with the analysis V7/I (V7 of 1), the diagonal slash means “of” (V7/iL = V7 of i) Also note that it is not necessary te indicate the quality of the chord of resolution in the analysis symbol.Hermeny 2 3 All secondary dominants nave certain common characteristics. 1) They are non-ciatonic structures. (At least one of their chord tones is NOT in the key.) 2) They are expected to resolve to a diatonic chord a cerfect fifth below 3) They are all built upon a diatonte root. This last characteristic (a diatonic root) is the reason for V7/Vii in a major / key being omitted from the category. The root a perfect fifth above VIi-7(b5) ts not dtatonic, seuss!Harmony 24 AVAILABLE TENSIONS - SECONDARY DOMINANT: Tensions on secondary dominant chords will reflect the diatonic function of 7 the chord: c. Vy yy vy “i Hv v “i AT 7 D7 27 tars o t the previous criteria: no are Giatoni9 and which are a major ninth~above chore h dominant’ chords there are some important exception ~ above- a - chord tone rule major 1) The tension p9 1S avaliable on dominant chords if it ts diatonic, | or if it is indicated in the chord symbol. af 2) Tension b13 is available on dominant chords if it is diatonic. E 3) Tensions b9 and *9 may coexist on the seme dominant chord if either one (or both) is diatonic. SEER GO RBI I III III AIR III III HIRAI HII IT I HART OF AVAILABLE TENSIONS FOR SECONDARY QOMINANT: Available Optional Available Chord Tensions: Tensions vat 9,13 =9 (dlatoni¢) and b* 1 Vall b9, DIS, =9 4 vay 3,13 7 v7v 9,13 #9 (diatonic) and Do* { V7IVi b9, DIS *9 7 %Since S and #9 are both diatonic to these chords, efther may be available to 3 the chora, but not together. !f *9 is available, 99 may also be used.Harmony 2 5 HARMONIC RHYTHM it The number of beats per chord within @ progression is called "harmonic rhythm”. in 4/4 time, the most common harmonic rhythms are 2, 4, and 8 beats: Harmonic rhythm of 2 deats per chord Cc Av F GHsus4) CAM G7(sus4) | Harmonic rhythm of 4 beats per chord: cé Al D-7 G7 ot Se Harmonic rhythm of 6 beats per chore: 0-7 G7 E-7 AT ae =| In 3/4, the most common harmonic rhythms are 3 or 6 beats: Cmaj7 Fmaj7 E-7 AT 0-7 S7 Cmaj7 G7{sus4) 0-7 G7 BePI Harmony 2 6 Chords in a progression will receive strong or weak stress, desending upon their placement. This relative strengtn or stress will often determine the chord's function, in any grouping of four pulsations, the first pulse is the strongest the last pulse is the weakest; the second pulse is weak; the third pulse Is sireng +. S$ Ws w S Ws w S ete (3 = very strong; s= strong; W = weak; w = very weak.) This stress pattern holds true for harmonic rhythms of: 2 beats per chore. Cc At F G7(sus4) CAD F G7(sus4) s Ww sow Sow sow 4 beats per chord: C6 AT 0-7 oF Ss Ww s w 8 beats per chord: 0-7 G7 E-7 A? 3 w s w 3 or 6 beats per chord: Cmaj7 Fmaj? E-7 A? D-7 G? Cmaj7 G7(sus4) —Harmony 2 Cadences most often occur from a weak beat to a stronger beat: F Bb F Bo C7(sus4) F Bb 7 Since the V7 chord is the primary cadence chord of the key, it is typically found on a weak stress point: NIV], W777 V7 16 A-7_07 B-7_£-7_ A-7_D77 "G6 s W—s w Tonic chords are. therefore usually found at stronger stress points, S W-+s ow This characteristic of dominant resolution from weak stress to stronger stress is also found when secondary dominants are present: VW) NY VY imaj7, 7 L_it-7 Zier? 7 (Lapses Cmaj7 B7~ “E-7 7 “A-7— 7G. a z t S—— SS s @—s @——s W—s O— v; yy —! Ww IVmaj7 Ail N-7 v7 16 C7 maj? A776 = SSS ss @— +s W—-+s w —s @ Thus, in addition to the other characteristics pertaining to secondary dominants must be added the observation that they are usually placed on @ weak deat.3 Harmony 2 8 TENDED DOMINANTS Dominant chords which are on strong stress points wil) NOT sound as secondary dominants. The typical location for these chords is either the Deginning of 2 phrase or the beginning of the second half of a phrase U-7) V7 Imaj7 IH-7 o7 -7_ C7 may? AT? ee ee ae —F = ——— © W $ w I-77 imaj? DIE mal? eee W s w Suen chords are “extended dominants” and have an expectation to resolve down a perfect fifth to another extended dominant or any diatonic chord O7—7G7~_ C7 FF EE = = Once the extended dominant pattern starts, there is an expectation for it to continue, and eventually end with 2 diatonic resolution: imaj7 DIGIC TE? Boma? Therefore, extended dominants nave one of two characteristics different than secondary dominants. 1) Extended dominants are either found on a strong stress or; 2) they are continuations of an extended dominant pattern which starts with an extended dominant.¥ Harmony 2 9 The analysis for extended dominant motion is an arrow to the resolution down a perfect fifth. In order to locate the extended dominants’ relation to the key, the scale degree of the root of the first extended cominant is included in parenthesis using {ts Roman numeral (without chord quality) aD v7 ima}? 07767 C7 F7_ Boma? SS Each extended dominant in a series can be seen (and neard) as being temporarily in a key other than the eventual diatonic key o7 G7) C7 OF? Bomaj7 o7 xpected resolution to C7: V7/V in F) 07 S67 Cc? pee + (Exoected resolution to F7: V7/V in Bb) D7? G7 Se 7 (Since this dominant is on the weekest ‘stress of the progression, most listen ers will expect it to function as V7; key of Bb.) Thus, each of the extended dominants will be V7/V in a “key of the moment,” except, usually the final dominant, if it is weakly stressed, will sound like the primary dominant. Additionally, to some experiencec listeners, the chord which is actually functioning as V7/V (the C7 above) sounds like V7/V and not an extended dominant; its analysis as etther an extended dominant or as V7/V is correct (since all extended dominants sound like V7/V). Since all extended dominants function as V7/V in their key of the moment or ne orimary key, their avatlabie tenstons are 9 ang 15, the same as V7/V.| j Harmony 2 10 DE! TIVE RESOLUTION Another commonly found trait of extended dominants can be demonstrated if the previous example is continued with a secondary dominant occurring on a very weak stress point: ap 7767 7C, in context the A7 meets all the criteria for a secondary domina placement is weakly stressed and it has potential for a resolui strong stressed beat. Taken out of context nowever, it is the series of dominant motion following the cycle of fifths: A7 07 G7 C7 F?. Therefore, this chord sounds like a secondary dominant, but resolves as an extended dominant. This is a commonly found exampie of “deceptive resolution", and requires an appropriate analysis. Chords are first analyzed for their sound within the progression: wy an v7 (maj? Fini 07767777 bmaj7 AZ Any deceptive resolution is parenthesized: v (ND v7 Imaj? (Yu) 0767 C7 ‘Bomaj7, AZ —— (AT does not resolve as V7/I11 to D-7.)Harmony 2 11 Then, justification for the chord's actual resolution is added. In the case of AZ, the resolution is down a perfect fifth (not as V7/IlI, but as V7 of the extended dominant D7), and therefore, an arrow will show that: a v7 imaj7 (i) 077767 C7" F7—_Bomaj7, ar SS (1) Secondary cominants are dominant chords a perfect fifth above a diatonic chord. Their placement is on a relatively weak stress point with the chord of resolution on @ stronger stress. 2) Secondary dominants are analyzed as V7 of the diatonic chord a perfect fifth below. If a secondary dominant resolves deceptively, the analysis is placed In parenthesis, and an added analysis 1s used to justify its actual resolution. The available \ tensions will reflect the secondary dominant chord's expected \ resolution, not its actual resolution. + SESE Port! 3) Extended dominants are dominant chords which are placed at a ey strong stress point, or within a pattern of _dominant : e followin {fifths with _an_extended SERIE _ J» ‘dominant as the stgcting point for the pattern. The available ALTE RARE tensions, areand for extended dominants. PRoPRie 4) Extended dominants are analyzed with an arrow, since their expectation is to resolve down a perfect fifth. The first i extended dominznt of the pattern has the added analysis of its i 7 \_. root's Roman numeral in parenthesis. 'Harmony 2 12 MELODIC ANALYSIS. Almost ali music has one commen trait: repetition. The repeating of musical ideas will be one focus of the melodic analysis process. Before describing the process, it 1s necessary to understand the ways in which melodic repetition occurs. Most song forms (as described in Arranging) contain a certain amount of phrase repetition. in AABA form, three of the four phrases in the tune are the same or so similar that they can be said to be the same. AABA.Harmony 2 13 Some songs contain a repeated phrase which is only slightly different than the original phrase AABA The form for the above song is AABA’ (AABA “prime"). The last phrase is So similar to the first two phrases that it can be identified as “A’, even though it Is not exactly the same. Phrase repetition will be found in almost all common song forms: AABA, ABAC, ABA, ABCA, ABABC, etc. The form AB is most often repeated over and over resulting in the form ABABABAB etc. Twelve-measure blues is repeated to produce the form AAAAA etc. Melodic repetition occurs within phrases. Most phrases can be broken down into three areas: ) Antecedent - the first half of the phrase which requires 2: 2) Conseauent - the second half of the phrase which may end with a: 3) Melodic cadence - movement to a point of rest.Harmony 2. 14 ‘An exception to phrase repetition 's found in "through-composed” songs. Through-composed songs achieve unity through motivic repetition. and manipulation rather than phrase repetition. A “motif” 1s a musical fragment. lost motifs are shorter than 2 measures in length, Melodic motifs may reeat themselves either exactly or in disguised fashion: 4 —_ Hermony 2 15 Motifs may be manipulated using any of the following methods or combinations 1) Transposition (Motif moved to another pitch level. This is also known as sequence.) 1 z 5 6. 2) Inversion (Motif is presented upside down.) 20. ai. vis. 3) Retrograde (Motif is presented backwares.)Harmony 2 16 MELODIC ANALYSIS PROCEDURES The first step in the melodic analysts process is to determine the song form Phrases which repeat exactly will be analyzed exactly. AABAY Ebmaj7 bb Bbmaj7 ehmaj? Eb-6 Bo 7 8. : 8 2, cc 07 7 C7 7 te > iaesaae re — SS 21. 22. 25. he o7 0-7 ‘Ebmaj? Bbmaj7 C7 7 = : ee a 25. 26. 27. aster 29. Bomaj7 G29) C-7 FT 0-7_67 7 80 Se Motifs should be enclosed in brackets ([]).Harmony 217 The next step in the analysis process is the identification of individual note relationships to each other and to the harmonies. Each notes will pe either: 1) an available pitch (a) a chord tone or (b) an available tension. 2) an approach note. An “approach note” is a note wnich ts a quarter note or less in curation and which moves oy step to a chord tone or available tension. Approach notes are found in many configurations. Passing tones are approach notes which move by step between two chard tones, between two avaliable tensions, or between a chord tone and tension (or a tension and chord tone). 0-7 O-7 0-7 0-7 5 8b 5 nsoon 7 + ob? S 9 bf 9 SOT 9 If the passing tone is diatonic to the key of the moment, it is analyzed as a “scale” approach note ("S") ‘The pitches preceding the passing tone and following it are identified with the number representing their harmonic relationship to the chord. In addition, the approach note is identified with its scale relationship to the chord: 0-7, =F 545 1 S69 TO st 9 by 9 ST bt 8Harmony 2. 18 Passing tones may also be chromatic. Unlike scale passing tones, they will most often not be diatonic to the key of the moment. Chromatic passing tones are analyzed as "Ch" (for chromatic): 0-7 o7 5 ns 3 CHS 1 patterns may start during one chord but resolve to a note on Approach not another chord 0-7 ed —— o 67 5 63 CH——*1 b7 5 “CH——+3 ALL -APPROACH NOTES RESOLVE TO A NOTE AND CHORD OF RESOLUTION. They are analyzed relative to the chord of resolution Cc AZ 0-7 G7 i 1 S21 367613 Tf SbIm13 13 4S. (oa: 1 Sa4 bT SOI b7 13 So oT 5) ‘An unprepared approach note, unlike a passing tone, has NO preparatory pitch but, like ail approach note patterns, it must resolve. Unprepared approach notes are either preceded by rest, leaped into, or a rhythmically repeated pitch: Cc AZ 0-7. G7Harmony 2 19 Neighbor tones are upoer or lower movement from an available pitch and back to the same pitch (either by scale step or chromatic step): 67 ¥ 93599 reat f (ar: 9399 1cHt1) in addition to the above approach note patterns which involve single melodic pitches, there are two easily recognizabie multiple approach note patterns. ALL APPROACH NOTES (SINGLE OR MULTIPLE) MAY TOTAL ONLY ONE BEAT. The double chromatic approach is consecutive chromatic mot! same direction to a note of resolution: 9 cH CH 1 cHcH 7 CHCA T (or: 9 b3CH19 cH 7 CHT 1) Note that the analysis for any form of chromatic approach notes(s) is Ch. The other consecutive approach note pattern is the indirect resolution Two approach notes appear, one above the note of resolution, and one below, ang then the resolution occurs: As with ail approach notes, each note of the indirect resolution pattern is analyzed as S or Ch: 0-767 maj? ° $323 cH cw (oR: 616 3 cH 5)4 Harmony 2 20 SPECIAL MELODIC ANALYSIS SITUATIONS. There are possible rhythmic alterations to melodies which affect the melodic analysis. (See "Arranging |*.) as a melody pitch occurring a 1/2 beat prior to a may be tied into the beat it anticipates or there An anticipation is se stressed beat (1 or 3) may be a rest on the beat: cmaj7 D7? G7 maj? ——— ae ANTICIPATIONS ARE ANALYZED WITH REGARD TO THE CHORD THEY ANTICIPATE AND THE CHORD SHOULD BE CONSIDERED TO ANTICIPATE ALSO: cmaj7__-D-7 67 Gmaj? 5843 $203 S453 3455 (oe: 5543 33 11823 3455 Some styles of rock music and jazz incorporate double time feel notation. Anticipations in double time feel will appear as sixteenth notes: Fmaj7 C7(sus 718518 S54 152033 4567 95131 (om: 1919 13 54 19039 4507 5521) The opposite of an anticipation is a delayed attack. Here the rhythmic alteration is seen a 1/2 deat after the stressed beat (1 or 3)Harmony 2 21 Infrequently, anticipations and delayed attacks may occur by a whole Deat, This is most often seen in jazz compositions and arrangements: . £6 Aa. Bo7sus4) ——— a —— < s 55 5S 1 Bb7 = 1 7B A melodic suspension is a melody pitch which is tied into a different chord change for a beat or less. Melodic suspensions are analyzed as the *- chord tone or tension of the cherd from which it is suspended: 0 —7 AT Fe-7 E-7 AT 1 S667 5 S43 —- (a 1——— 845 43 n——— 1 3) The melodic analysis procedure in summary: 1) Note the song form. _ 2) Bracket each motif and include any melodic cadences 3) Analyze each note in the motif as either an available Note from the chord structure or as an approach note to an available pitch. (S = scale approach; Ch = chromatic approach.) 4) Analyze repeated motifs with a repeated analysis. OI III III I TEI III IIIA III ILL LI III II III ISI IIIA SII IIIA IIIA LAA ALAA ASSIA ISIS SSS EIS SASSI SLPS LIS IIAHarmony 2 22 ADING Chords presented so far have been in “close”position. All the chord tones are as close 2s possible to adjacent chord tones maj? 0-7 «E+? Fmaj7 A-T 67 maj? \ == Chords nave been seen in root position as well as inverted: Cmaj7 A7 0-7 «67 F#-7(b5) F-6 Cmaj7 1 1 x < = Note that the top voice defines the required movement of the chord tones beneath it. If the top voice were not the controlling factor, the examole could be “voice led" Any pitch (except the roots) from 4 chord structure would move to the nearest chord tone of the subsequent chore following an order of preference: { | 1) common tone (no movernent) \ | 2) half-step movement \ | 3) whole-step movement 4) movement in thirds (major or minor) F=-7(5) F-6Harmony 2 2: When a harmonic progression is voice ted (as above), “harmonic continuity” is said to be in effect. A progression can also be demonstrated by voice leading only the essential pitches of each chord, The essential chord tones are the root, third (or fourth on sus4 chords), and seventh (or sixth on 6th chords); these pitches make each chord sound major versus minor, and the major or minor seventh further defines the chordal sound (05) Generally, the position for the starting chord structure is determined by sound; the best location for the chord tones (3rd and 7th) is within the following range: The roots of the chords will be the foundation for the essential chord tones: which are voice led following the previous list of linear intervallic motion. (Common tone; chromatic; whole step; thirds.) Cmaj? 07. O-7_- G7 F#-7(05) F-7-D-7 BOT ce} a a 4 Harmony 2.24 Considering the list of preferential motion, chords progressing with unchanged root motion (chords with common roots) will use common tone and/or stepwise voice leading of the essential chord tones: Cmaj? D7 0-7 G7 F*-7(bS) F-7 D-7 BOT cs (= PARALLEL (unlike traditional practice, the use of parallel motion [two voices moving in | the same direction with the same intervallic relationship] may occur in contemporary music.) Chords which have root motion in fourths and fifths will have voice leading of the essential chord tones by common tone, chromatic, or whole step: Cmaj7 07 O-7 G7 F#-7(pS) F-7 D-7 Bo7 co — F Step-wise root motion will require voice leading by step in parallel or similar motion (movement in the same direction): Cmaj7 07 D-7 G7 F*-7(b5) F-7 0-7 8b7 6Hermeny 225 Root motion in thirds will usually require that at least one of the essential chord tones is voice led in thirds also: 2 g Cmaj7 07 0-7 G7 F*-7(b5) F-7—-D-7 Bb7 Ce Intervallic voice leading larger than thirds is generally not necessary.Harmony 2 26 Gul ks The result of the previous voice leading of the essential chord tones is root motion and the two “guide tone lines.” Guide tone lines are single lines which are developed by the voice leading of the essential chord tones and guide the listener through the chord progression, Individual guide tone lines may be one of three configurations: either one of the two Tines created from the previous process or a combination of tne two lines from the voice -leading process: Cmaj7 D7 D-?_ G7 F#-7(DS)F-7 D-7 Bb7 ce the developing guide tone line appears to be approaching the limits of the given range, an adjustment may be made by utilizing one of the following alternatives: 1) Within the duration of the chord, it is possible to leap fram 2 guide tone toeither: a) the same guide tone note an octave higher, or , maj? A-7__ maj? 0-7 ' ZI b) another guide tone line: cmaj7 A-?__-Fmaj7_D-7 ! = = “5Harmony 2 27 2) Or voice leading may be suspended and the line started again at a different pitch level either: a) following a cadence to the | chord, or b) at the end of a phrase. Ebmaj7 Bbmaj7 €omaj7 Bbmaj7 C-7 F7 Se Z = = 7 Bbmaj7G7(*9) Me TEP Bbmaj7 a ‘77 4 - an Ebmaj7_Eb-6 Bbmaj7 Ebmaj7 ED-6 Bomaj7 x =— —= gS = = 67 c7 07 «67 c7 7 g — Zz —— : = 4 6-7 0-7 * Ebmaj7 Boma}?Harmony 1} 28 MINOR KEY HARMONY - NATURAL MINOR Minor key harmonies are similar to major key harmonies, The commen minor key scales are. Natural minor: —————— Harmonic minor (natural minor with a raised seventh scale scale de Melodic minor (natural minor with both a raised sixth and seventh degrees ascending and natural minor descending): It should be noted that the diatonic chords duilt upon the third, sixth, and seventh scale degrees are labeled relative to their location above the tonic: a minor third (bIII); a minor sixth (DVI); a minor seventh cay vie " 7 Less often the line cliche may appear on the II|- chord. iche occurs on tne fl I= to V7 in D major, IV= in D major.Harmony 11 43 MODAL INTERC NGI ~ MODAL INTERCHANGE IS THE BORROWING OF DIATONIC CHORDS FROM A PARALLEL MODE (SCALE) AND USING THEM IN THE PRIMARY KEY: F-7 G-?(bS) AbMaj7 Bb-7 C-7 Domaj? £b7 F-7 Primary key: (natural minor? F-(maj7) G-7 Abrmaj7? 8b7 C7 O-7(bs) E-7b Parallel key (melodic minor} Modal interchange between minor tonalities is a very common harmonic practice in contemporary minor key tunes: F natural minor: F-7 Bb-7 Eb? C-7 Borrowed from F melodic minori Harmony I! 44 The use of minor tonality chords in major key harmonies is @ commonly found example of modal interchange. Such chords are borrowed from the parallel minor key (the key of I=), and used in the parallel major key (the key of | major). Fmaj7 6-7 9 A-?. Bbmaj7 C7 7(b5) Fmaj7 Primary key major) F-7 G-7¢b5) Abmaj7 @b-7 C=7 Dbmaj7 £7 Paralel key (F natural miner) o The natural miner mocal interchange chords borrowed for major key use are. v=, IV-6, 1V-(maj7), |V-7 (all the forms of the I~ chord.) I= imaj71V-6—sImaj?_—sIV-7_—|maj7_ IV Bb- Fmaj? Bo-6 Fmaj?_Bb-7__-Fmaj7 Bd-(maj7) F = a — 4 == —— = f oVimaj?: bvil7: bVvimaj?: imaj7 pvIt7: Imaj7 Dbmaj7 Fmaj7 &07 Fmaj7 LH = SS The harmonic minor modal interchange chords borrowed for major key use are. §1-7(b5)-V7(b9) tI-7(05) V7(b9)— Imaj7 G-7(D5) C7(b9) Fmaj7 aes iaHarmony 1 $ 2 very cornmen modal i pViImaj7, though not diatonic to any minor key, | a interchange chore: | bvilmaj7 \maj? ebmaj? Fmaj7 blimaj?, though not diatonic to any minor key, is @ very common modal interchange chord The tonic natural minor chords I-, |-7, bill, and blllmaj7 are also found as modal interchange chords in major: maj? 1-7 Imaj 1-7 3__Fmaj7 F-7 Fmaj7 a fa SSS =e] imaj7 bilimaj7 Imaj? bilimaj7 Fmaj? Abmaj7 Fmaj7 Abmaj7 = : os The available tensions for modal interchange chords are the same as listed in their minor key context.Harmony2 46 RELATED 11-7 CHORDS The full cadence is represented by the progression of subdorninant to dominant to tonic chords: ® ® @ 2 ote S$ The most common variation of the full cadence has strong root motion of perfect fifths throughout: FP Just 2s an arrow is used to show the perfect fifth root motion between the dominant chord and its chord of resolution, the relationship between the ll-7 and the dominant V7 is so strong as to require recognition. A solid bracket beneath the 11;7_\j7 is used to show the perfect fifth root motion: gt Yt “I agj" Gt Ct maltii Harmony 2 47 The above progression is all diatonic; 11-7, down a perfect fifth to V7, cown | a perfect fifth to |. This lIqZ_\7 relationship is so strong that: ANY DOMINANT CHORD MAY BE PRECEDED BY ITS RELATED I!-7 CHORD. TF? FGZ_BQ7 Bb>7 Eb? ED;7_AN? Ady OST G77 Ab-7 0D7 Db=7 Gb7 F*:7 B7 8:7 EP &7 A? The related [1-7 chord-of some secondary dominants will also be diatonic. Such diatonic minor seventh chords have DUAL FUNCTION, f L gr Yen Bry F Abt iG oF ! BOT EO ere Eh E20) A G Gt 6 Fog} ‘The diatonic analysis and the bracket show the dual function. The available tensions for dual function chords (ItI-7, VI-7, VIl-7(b5)) are usually diatonic. ee Other related II-7 chords which are not diatonic have available tensions from the key of the moment: Test Fag? = 1-7 ina fae uHarmony 2 48 The L_4 retation may appear as 1157(bS)_V7{b9) (as in harmonic minor’: 1b) xf ——~ Bat xz -105) 1669 bo ¢ ¢ Fai" Fé Indeed, any of the following variations to the L4 may occur without changing the dominant function of the V7 chord. gi) eB) Te Gt Ge) _exG)*e eHarmony2 49 Harmonic rhythm directly affects the Lu relationship. With the inclusion of a dominant chord's related I!-7 , harmonic activity is increased without deterring from the dominant resolution. The harmonic rhythm of the +4 may be even: —» 7 1 8 E, or the II-7 may appear for longer duration than the dominant: — BP e7 7 wW sow et_et 8 sw SWse or, less often, the dominant chord may appear for longer duration than theHarmony2 50 Therefore, the I+? will appear on a strong stress, the V7 on a weaker stress, and the resolution will be to a strong stress. A Ls may repeat prior to progressing: mt og mt vA m7 “4 By .' -! 7 « a Dt « Dt_& eA état Line cliches commonly occur with alt= V7 - 1 tut ae a Related iI-7 chords of extended dominants may be either the chord of resolution: Ayt a Ger a or, they will be INTERPOLATED prior to the chord of resolution (the extended v7). — Ado? Datel gti GiteHarmony 251 BLUES, Blues harmonies have their basis in early American church music. The primary cadence used in hymns of the Protestant church has been subdominant (with dominant cadence being of less importance), Subdominant cadence is ‘aditionaily called “plagai cadence": Vv t Thus, the primary chords found in blues are the | and IV chords (and occasionally the V7 chord). The basic scale used for blues melodies is a pentatonic (S note) scale, but i NOT the major pentatonic scale. The blues scale is NOT diatonic to the harmonies:Harmony 2 52 The above blues scale (scale degrees 1, D3, 4, 5, D7, 1) canbe seen as a minor pentatonic scale. The important characteristic of the blues scale is its exclusion of any half steos and the relationships it creates with the major key harmonies; the scale degrees 03 and b7 being the basis for the minor pentatonic scale create an unusual sound when supported by the major key harmonies. This melodic relationship results in what is called “blues no! When the blues melodic pitches are superimposed over the basic harmonic structures, the extensions for the seventh degrees of the fundamental choras can be added: The | and IV triads therefore become I7 and 1V7 respectively: F7 Bb7 ee The basic available tensions for the primary chords are those which appear melodically: F7(*9) Bb7(9), : 175 $4 #9 5 7819Harmony 2 53 Anexception to the previous observations regarding available tensions should be noted in the case of the 17(#9) chord in blues. Though b9 and #9 normally may coexist, D9 shouid not be used with #9 on the 17 in blues since it fs not part of the Dlues scale. a The blues form has its origins in the poetic form used for the improvisation of lyrics. The lyrical content of blues is based on @ "rhymed couplet” with the first line of the couplet repeated (to allow for additional time to improvise the second line). The rhythm of the lyrics can be notated as dotted quarter, eighth notes with five stressed pulsations (this lyrical shythm ts known as “iambic pentameter"): By studying the stress placement of the melody and lyrics, it can be noted what the overall form witl be: a FRESE w+ oo —— Sung lyrics - First couplet line — pepe 7 ES = Sung lyrics - Repeated first line ___ Set > > > Sung lyrics - Second couplet line The above will therefore be a 12 measure form (also known as “12 bar blues”).Harmony 2 54 The placement of the primary chords foliows a logical sequence: the !7 chord receives the most stress; it will also be cadenced to from the [V7 chord. In order to nave a variance during the repeating of the first line of tne couplet, the IV7 chord is used with a cadence to 17; the final line of the couplet contains the final cadence: Bb7 F7 —————————— = First couplet line repeated (lyrics and melody) Strum _--------~— Bb? F7 Second couplet line with cadence it should be noted that all the lyrical content of a fundamental blues, as the one above, is within the first 2 measures of each 4 measure phrase; the remaining 2 measures begins with a cadence and the chordal content 's the {7 chord, Since vives was most often performed by a soloist, accompanying himself/herself, the last 2 measures of each 4 measure phrase came to be known as the “strum”, for obvious reasons.a Harmony 2 SS The next higher levet of complexity would be for blues harmonies to contain dominant motion, This action would then trcorporate diatonic souncs from major key harmony. Dominant cadence The basic dlues melodic scale has become more complex also; it now contains chromatic motion between the 4th and Sth scale degrees - 05 or =4 The contemporary blues notes are 03, b5 (#4), 07: b7 S bS 4 bI b3 4 44 5 b7Harmony 2 S6 AVAILABLE TENSIONS - BASIC BLUES The available tensions for the three basic blues chords ere those from the extended structures which meet the previous criteria diatonic to the blues scale anc either a 9th, or a *9th or an allowable o9th above a chord tone: Optional Structure Normal blues with diatonic major key Chord structure: tensions: 17 17 (#9) 17 (#9, 13) OR 17 (9, 13) v? Iv? (9) tv7(9, 13) tke v7 dl v7 (#9) V7 (b9, #9, B13) OR V7 (3, 13) (Any diatonic chords or secondary dominants from major key. harmonies will have available tensions from their major key context.)Harmony 2 S7 IES VARIATIONS. a There is one important characteristic which can be seen in all blues: the placement of the primary chorcs within the 12 measure form: Tonic First couplet tine —-_-__--_____ Strum ~~~ Subdominant Tonic a =— First couplet line repeated Cadence Second coupl Variations to blues demonstrate this pattern in two different ways: 1) Harmonic motion from and back to the primary chord in each area of the form, and/or 2) Harmonic motion to the next primary chord. aHarmony 2 58 Thus, 2 tonic chord will appear in the first measure; any subsequent harmonic activity in the first 4 measure phrase will be back to 2 tonic chord and/or motion to the subdominant chord which will appear in measure 5: Tonic 7 Bb7 A-7(D5) Subdominant 87 in the above example, there is a suodominant cadence back to the primary chord (tonic) from measure 2 to 3; measure 4 contains 2 commonly used blues chord which approaches the IV7 chord. The I1!-7(bS) chord can be identified as an upper structure of the 19 chord (which may also be seen as the secondary dominant of !V7 [V7/tV}): {7 or “7 Wy Iti-7(bS)Harmony 2 59 Measures 5 and 6 will start with the subdominant and contain motion back to subdominant and/or have movement to tonic in measure 7: Tonic 7 Bb? F? A-7005) S % 7 4 Sub-dom inant, Bb7 F7 Bb? B°7 The B°7 occurring in measure 6 is another commonly found biues chord. The 17 chord is an approach chord to | from IV; most often the resolution of its root is chromatic and therefore the 17 chord aopears inverted: Bb7 B°7 PY, =Harmony2 60 Measures 7 and 8 start with the tonic and either move back to tonic and/or have motion to cadence chords in measures 9 anc 10. The cadential motion may be either dominent, subdominant, and/or modal interchange cadence chords borrowed from ~rinor: Tonite FT 507 ATS) === = ——— end ca 2 > 7 Sudgorninant Tonic E BO? F7 B07 B°7 YB? F7 3 3 + = a Cadence _ onic 6-7 7 77 : =: | 9 io Tr 12 The above cadential motion contains dominant (C7 - V7), subdominant (Bb7 ~ |V7), anda non-dominant chord borrowed from natural minor (Eb7 - BVII7).Hermony2 61 Since measures 11 and 12 begin with the tonic and the first measure is also tonic, any harmonic motion here will be back to tonic: Tonic FT 807 fa A-7005) “ z 3 a 7 ‘Sub-dominant Tonic Bo? F7 Bo7 B°7 FY, 8b7 F707 = 3 é 7 3 Cadence G7 ¢ Another contemporary biues chord (also found in major key harmonies) has its basis in subdominant cadence. in the following blues progression there appears a lV of the | chord and a !V/IV (IV of the IV chord} ' Iv 1 1 Vv | 6 oc 6 6 Cc G # <= g = —— IV Yy iv iow I pc fF c 6 6 EE iw lw iv. V7 i oI 1 v —. i t c o7 6 Ce 64 Harmony2 62 a more complex situation, the same chord (IV/IV) would be analyzed as DVL 17 WT pWii7 7 U1-7005) 67 C7 FT G7 B-7b5) ‘- ss vt Iv? DVII7 I7 Vy c7 F7 67 7 V7 bVIIT 17 The following chart includes examples of blues progressions. The 12 measure form and placement of the primary chords adheres to the previous requirements. Note that some of the examples use biues chords only, some use major key harmonies and some use minor key harmentes.SUBDOMINANT TONIC Harmony 2 CADENCE- = = 63 7 2 3 70 7 3 £7 Ib? a 2 7 crs) 7 = 4 6 f £2 Abmaj? ——6-7005) e749) abe 7 i g 70 TT @ foraj?_ £7 AD__D-7_G?__CT 7a? x ——— — i F 3 7 > é 7 chord scale is used for all substitute dominant chords (expected resglytion down a half step), VIN7 (expected resolution up a whole step)! in amajor key context (expected resolution down a perfect fourth), and extended substitute dominant chords (also expected to resolve down a half step). subV7 (Lydian °7) pore) subV7/II (Lydian ®7) subV7/1V (Lydtan 57) 7 7 ¥ B subV7/V (Lydian 97) ) ie : peo eee = “Ft o #7 a sj 7 a Dyii7 (Lydian 57) 1V7 (Lydtan 97) pit”) pt) se bro: a 7 2 i a 9 All extended subv7's (Lydian 7) (Qa - 7 Extended dominant 7 a Extended dominant Mixolydian Mixolydian pr Extended subV Lydian 07 Lydian 67 The chord scale used for extended dominant chords is the same as that used for V7/V (expected resolution down a perfect fifth): Mixolydian.- HARMONY 3-26 Though alterations are possible to all forms of Mixolydian scales, the only alterations normally available to the Lydian >7 scale occur on the substitute dominants of |, !V, and V. Since those chores nave an expected resolution to a major chord, the major third of the chord of resolution may occur in the Lydian ©7 (#9) chord scale as an alternative. Although infrequent, #9 on aLydian 7 chord 1s more likely to be found on sub V7/I subV7 (Lydian °7) to imaj? subV7(#9)/1 [Lydian °7(*9)] to Imaj7 pore) a subV7(#9)/1V {Lydian 57(=9)] subV7(#9)/V [Lydian 97(*9)}HARMONY 3 2? DIMINISHED CHORD PATTERNS. Diminished seventh chords are most often found in major keys as linking chords between neighboring diatonic chords, or as approach chords to diatonic chords. The most common patterns for these diminished seventh chords are: |"? approaching |!-7 or passing to II-7 from \(maj7) |#11°7 approaching IIi-7 or [passing to 11-7 from 11-7 21N"7 approaching V7 or passing to V7 from iv(maj7)HARMONY 28 £V°7 approaching VI-7 or passing to VI-7 from V7 _i biy1+7 approaching 11-7 or passing to II-7 from Il!-7 Dyi7 approaching V7 or passing to V7 from Vi-73 HARMONY 3.29 LtZ.as an auxiliary to the tonic (Kmaj7)} ~ | | ie see ra vl oz - —————————— t | ly"7 as an auxiliary to | ‘the dominant (V7) ie : — A = These examples of root motion can be used to categorize the three different types of diminished chords: 1) The ascending diminished seventh chords have root motion up a half steo from non-diatonic to diatonic. 2) The descending diminished seventh chords nave root motion down 2 half step from non-diatonic to diatonic. 3) The auxiliary diminished seventh chords have a common root with the tonic or dominant chord respectively.HARMONY S 30 ‘All diminished seventh chords contain two tritone intervals. Because of e these tritones, diminished chords are extremely unstable, and have a clear tendency or “need” to resolve. Additionally, all diminished seventh chords contain non-diatontc pitches; the. ascending and descending .diminished seventh chords have roots which are not in the Key. ALL DIMINISHED SEVENTH CHORDS HAVE A VERY STRONG DEMAND FOR RESOLUTION, In most cases, the expected resolution Is to a neighboring dtatontc chord or diatonically rooted chord. ee eae > s The ascending diminished seventh chords are derived from the secondary « dominants of their target chords and have smooth voice leading characteristics. #1°7 can be seen as an inverted V7(°3)/ 11 #\|°7 ts derived from an inverted V7(9)/III: Ct Cray? Cw b-7 gi) gerLi As HARMONY 331 #IV"7 is derived from an inverted V7(9)/V: é *V"7 is derived from an inverted V7(P9)/VI: Fnaj7 prlo) G ‘The descending diminished seventh chords are not derived from secondary cominant function since neither contains the tritone of the expected resolution chord's dominant . These two diminished chords are derived from chromatic voice leading. Di11°7 is expected to resolve to I!-7: ¢: é7 en D7HARMONY 3 32 Note that Pillt7 and #11°7 are enharmonically the same chords but the expected resolutions are different; the context in which they appear determines the function 7 Similarly, byez Is expected to resolve to V7 (and !s enharmonically the same as *V"7): The tonic and dominant chords of the key may be approached by their respective auxilary diminished seventh chords (I°7 and V"7). Like the descending diminished chords, the auxilary diminished seventh chords are derived from chromatic voice leading and not dominant function They are found either delaying the resolution to the target chord or creating harmontc motion in a relatively static situation 1°7 Is the auxiltary to the tonic chord: aT ¢ CT Ca? C97 maT V°7 is the auxiliary to the dominant chord: pr Ga? SGT G7 G7j HARMONY 333 Unlike dominant chords which have a potential for deceptive resolution, diminished seventh chords have an absolute expectation for resolution. IT IS RARE FOR A “7TH CHORD TO HAVE A DECEPTIVE RESOLUTION. However, the ascending and descending diminished chords do have alternate chords of resolution, If an alternate resolution does occur, the chromatic root motion is still retained. *|*7 has an expected resolution to {/-7 and an alternate resotution to II-7's related dominant: the V7 chord with its Sth in the bass: CT eth istics et *|I°7_ has an expected resolution to the tonic iIl-7 chord and an alternate resolution to the tonic | chord with its 3rd in the bass: 7 CHE = *1V"7 has an expected resolution to the dominant chord and an alternate resolution to the tonic | chord with its Sth in the bass: = eT =V°7 has an expected resolution to VI-7 and an alternate resolution to the secondary dominant chord built on the same root: V7/II: Gh 47HARMONY 3 34 2111-7 has an alternate resolution to V7/Sth in the bass: BT Cg See DvI°7 has an alternate resolution to I/Sth in the bass: The auxilary diminished chords do not have alternative resolutions.HARMONY3 35, AVAILABLE TENSIONS ~ DIMINISHED SEVENTH CHORDS. As was pointed out in previous topics, the tension numbering system to 13 does not work for diminished chords since there is a potential tension above each of the chord tones in the extended structures of diminished seventh chords: ,#ri7 Therefore, the possible tensions in the extended structures for diminished chords are not numbered, but simply identified as Tension if available (a Major ninth above a chord tone). Tensions for diminished seventh chords can be characterized as either diatonic for a diatonic situation or, non-dlatonic for a non-dlatonic situation. If an extended structure is created with all the tensions available, the resulting diminished chord cannot be diatonic to any key. The available tensions will not fit into any valid key signature cHHARMONY 3 36 If the above chord's tensions are displaced an octave lower between each chord tone, a scale 1s created which is known as a SYMMETRIC DIMINISHED SCALE. This scale is composed of alternating whole steps and half steps:, chr Hence, the above diminished seventh and its available tensions would be found in a non-diatonic situation. If the target for any diminished seventh chord is diatonic, the available tensions must be diatonically oriented Those resulting pitches a major ninth above a chord tone are labeled as “T* (for available Tension), The available tensions for I°7, *11*7, DNI*7, and *1V*7 in the key of C major are: x? #E? are? egrer (Filled in note heads represent pitches which are diatonic, but a minor 9th above a chord tone.) Since all the above diminished seventh chords contain the same enharmonic chord tones, the potential tensions generated from the extended structures are identicalHARMONY 3 37 The available tensions for #v°7 and vit? (which contain the same enharmonic chord tones) in the key of C major are agg?HARMONY 3 38 CHORD SCALES ~ DIMINISHED SEVENTH CHORDS We have already seen that the symmetric diminished scale is appropriate for use when a diminished seventh chord is not functioning in a diatonic situation 7 Te Ore? In this scale all non-chard tones ere available tensions, and as is the case with all diminished seventh chords, the numbering system to 13 does not- work. The tensions are labeled as “T” without an associated number. Diminished seventh chords which have diatonic resolutions, however, should imply this diatonic orientation with the use of diatonic non-chord tones 3 The resulting chord scales contain chord tones, tensions, and avoid notes: "7 #17 ae a: cer Bee B ee #117 bine? i yet ror Ba zt 7 = = ——— & — a roo lnmimmel jHARMONY 3 39 v7 ag eee Snes gGte 2 ; ave7 Dyie7 re be an Tobe ss = Unlike previous chord scales, the above diminished scales appear to have no names. However, a comparison with secondary dominant chords reveals identical chord scales for diminished and cominant chords. #I°7 is expected to resolve to Il-7 v7(Pgy/1| nas a similar function: in many cases: c#T Pe ATs) & z fe af pa oo + = a a arr’ The chord scale for #1°7 can be identified as the same scale as vrai starting on the root of the diminished chord. The conditional avoid note situation occurring for the dominant chord does not occur for the diminisned chord since the third of the diminished chord must be used, Since V*°7 contains the same chord tones as #1°7, it uses the same scale as v7).i HARMONY 3 - 40 *1|"7 is expected to resolve to Ili-7: ed | has @ similar function: — sti? = = F pe vi ea The chord scale for *II°7 can de identified as the same scale as v7(P9)/111 starting on the root of the diminished chord. As in #1°7, there are two avoid notes. Since PiNI*7 and 1°7 contain the same chord tones as *11°7, thelr chord scales can be identified as the same scale as V7(P9)/III, Each sterts on the respective diminished chord's root and contains two avoid notes: a Ou? "7 7 rom ct tr zr Sana a *iV'7 also shares the same chord tones as the above three diminished seventh chords and may therefore share the same chord scale. However, *1V"7 is expected to resolve to V7; v7(°9)/v has a similar function: 4) 7 See eee eee pred = - be steed = z= oT A a3 In this case, #1V°7 may use the same scale as eitner v7@aysiIt oF v7oyv, starting on the root of the diminished chord.QR HARMONY 3 4) s1v-70°5) *iy-7(05) is a chord functionally related to the previous passing and approach diminished seventh chords. It 1s also commonly found 2s the related 11-7005) of V7/IIt egg-7s} wee - Bers) FI, F a Its structure contains a bs since that pitch is the tonic of the key. !t can also be built as a diminished triad with a minor seventh. This type of seventh chord structure has traditionally been cailed “half diminishes (occasionally abbreviated as ®). There are rare instances in contemporary music when a -7(°S) chord truly functions as a half diminished chord; *1y-7(25) may function in this fashton. *|y-7(05) is found as an approach chord to V7 or as a passing chord to V7 from IV or IV~: gr08) or hj? 8109) 7 gh? pets) c7 As with the alternate resolution possibilities of the diminished seventh chords, an alternate resolution to the above pattern Is to the tonic | thord with its Stn in the bass: ay-70d) IY 5% Dina? BEM Trai Joon IE-7 pth) 27 B78) 24% Binaj? 3-705) Zmpai Ve BT BOD e/c —— SS eSHARMONY 3 42 1-75) is also found.as an approach chord to IV or IV- or as a passing chord to lV or 1V- from V7: In the above example, the V7 chord can be seen deceptively resolving to =| y-7(D5), The expected resolution for V7 is down a perfect fifth to I, but, like alt dominant chords, V7 may resolve deceptively down @ half step (es substitute dominant root motion demonstrates) to #1V-7(P5): This most often occurs as a means of delaying the, cadence to tonic. An examination of the available tensions for #I¥-7( 05) and comparing its available pitches to those available on the | chord shows that common melodic possibilities exist. /s 4 3 mil As is the case with most “705) tif Pr all those seen so far), the available tensions for *1V-7(9S) are 11 N2 | i | jHARMONY 3 a CHORD SCALES ~ OTHER OR KEY CHORDS anny Though the diatonic IV chord usually uses a Lydian chord scale, there are two instances in which an lontan scale 1s more appropriate 1) If the IV chord is preceded by its dominant (either V7/1V or subV7/I¥), the listener prefers to hear a IV lonian chord scale r vig__—__, = yee é cf FE Gl = = yar 2) If the intent is to have the listener expect the IV chord to progress to IV-, the listener prefers to hear a IV lontan chord scale ot Ein? wT z Fa) ¢ ‘As a general rule, the above IV chord and the | chord are the only major key chords which use an lonian chord scale. All other major chords in major key use Lydian: Ditmaj7 biiimaj7 2 Poi? pei? , & = - = a7 a rh oS bVimaj7 >vtimaj7 y_Abnaj? ; bo & sing? ae s : Fae wey ?HARMONY 3 44 Other modal interchange chords borrowed from the parallel minor keys use the following chord scales 1-7 Dorian a ar 1V-6 either Doran or Melodic minor V-7 Dorian G7 —— ~ 1V-7 Doran 11-7025) Locrian natural 9 perl) = F 7 7 u-7(5) Locrian, Be [This is a more common use of v7(09) Mixolydian 9, #9, 13 11-705) pet gh — +. 6 ss ae = we =| BS oF iB ee B The above scales are appropriate when the modal interchange chord occurs in a major key.HARMONY 3 45 U1-7 chords which appear because of their —__ or. elationship use a Dortan scale: Ry #1V-7(05), like almost ail minor seventh (>) chords, uses a Locrian chord scale pa 1038) a WS Dominant 7th sus4 chords use mixolydian chord scales but the 4th 4 degree is available and the 3rd degree is avoided: gris) 7 == 3 Dominant seventh chords which have an indicated #5 use 2 Wholetone scale (each pitch is a whole step above the previous pitch): gt? i = wT oT Whole stepsore HARMONY 3 46 CHORD SCALES - MINOR KEYS. Due to the different configurations of the tonic minor key scales, more ‘options are generated for the chord scales for diatonic minor key chords. However, DIATONIC CHORDS IN MINOR KEYS USE DIATONIC CHORD SCALES. The criteria for avoid notes remain the same as in major keys (with the exception of 1-7 Dorian). The I-6 chord uses either 2 Dorian chord scale with the 7th degree avoidec or aMelodic minor chord scale: ce 1 o8 SSS err = = ey =F Ww ait The I-7 chord uses either a Dorian chord scale or an Aeolian chord scale. Unlike the avoided 6th degree for a Il-7 Dorian scale, Dorian minor does allow for the use of tension 13: Pepe ee paced £2 & Saas Ss ae The I-(maJ7) chord uses either a Melodic minor chord scale (ascending version) or, less often, a Harmonic minor chord scale: p_ztngj) poy =eHARMONY 3 47 It should be noted that though uncommon, it is occasionally possible to find a Phrygian tonic minor chord scale. All other diatonic chords from minor tonalities have chord scales based on the different tonic scales of those minor keys. Any non-chord tone a half step above a chord tone remains an avoid note. A review of the many minor key chords and the minor keys they are found in will demonstrate the: freedoms available in the choice of an appropriate cnord scale for any’ diatonic chord. All dominant chords similar in function to those found in major key harmony (secondary dominants, substitute dominants, extended cominants, extended supstitute dominants, etc.) have chord scales which meet necessary criteria for their construction: diatenic orientation = diatonic non-chord tones; exoected resolutions of down a perfect fifth = some form of Mixolydian chord scale; expected resolutions of any root motion other then down a perfect fifth = Lydian 7. Basically, if the root of a chord is diatonic, think diatonic for chord scale construction; if the root of a chord is non-diatontc, the construction of the chord scale needs a logical Justification.HARMONY 3 48 CHORD SCALES - BLUES - The chord scales common to blues harmonies are constructed using the chord tones and pitches from the blues scale. The 17 chord in blues uses a Mixolydian *9 chord scale: on?) filer HEE Sees a 7 In addition, it is possible to use diatonic pitches from the major scale as a basis for the chord scale: 17 (Mixolydian): on) F Other blues chord scales can be derived by using diatonic pitches from other parallel tonalities and other pitches associated with blues (e.g. *4) 1-7 (from minor key) Doran: 17 Lydian >7, #9: 7 G4 SSS 8 SSS a STHARMONY 3 49 The 1V7 chord in blues uses a Mixolydian chord scale: The V7 chord (borrowed from major Key harmonies) is either a Mixolydian scale, or a Mixolydian with some alterations, or an altered chord scale on) om FF ? B TF a i Gitta) : eae) S 2 ey ta BAF 3B Other chords found in blues progressions are usually borrowed from major ‘or minor key harmonies and therefore use their normal chord scales. V7/II, however, often takes a Mixolydian 9, #9, 13 chord scale. Ae 7e oF 2HARMONY 3 50 SEI EERIE RII IIIA AANA I TH IOI APIA ID SUMMARY OF CHORD SCALE CONSTRUCTION CONSIDERATIONS (The following generalizations should be considered suggestions and not absolutes.) HARMONIC AVOID NOTE CRITERIA: Any note appearing ina chord scale which is a half step above a chord tone should be avoided harmonically, except 9 and 13 are available on dominant chords. The 6th degree of the Dorian scale should be avoided exceot in a tonic Dorian minor context. Either the Sth or the 213th of a dominant chord should be avoided if the 7 other pitch is used CHORD SCALE CRITERIA. Diatonic chords take diatonic chord scales, with the exception of IV when it is preceded by its dominant or expected to progress to IV~. ‘Any dominant chord with an expected resolution down a perfect fifth uses some form of Mixolydian or altered chord scale. Any dominant chord not expected to resolve dawn a perfect fifth takes 2 Lydian °7 chord scale. If a dominant chord's chord scale is some form of Mixolydian, the scale may have added altered tensions, ‘Any dominant chord wih a non-diatonic root uses Lydian 7; any major chord non-diatonically rooted uses a Lydian scale. The only alteration possible to Lydian 57 is *9, If the expected chord of resolution is major. bg and #9 may coexist in 2 MIxolydian scale except on a | chord in blues or ona Lydian 07, *9 scale.HARMONY 3 51 For minor 7 chords, it's usually a good practice to use Dorian when in doubt! Most minor seven (PS) chords use Locrtan All suspended fourth chords use Mixolydian. Awholetone scale is used for dominant chords with o Most diminished seventh chords use a chord scale identical to one of the secondary dominant (P9) scales.HARMONY 3 52 MODULATION Modulation is the movement of melodies and/or harmonies trom one key into another. In order for a modulation to occur, the listener must shift from the original tonic ial to anew tonic reference. poe ts) 7 Tie ng? ses) y-8 EFmaj7 Ee é Fa So a The above 16 measure tune contains a modulation from F major into Bb major and returns to F major, Notice that typical of thts type modulation, the phrase in 8° may stand alone: eee 7 Lt, sb 0-7 yao # pet Sng)? feassatsiie Emj? Bing? agy-ts) ps maj gest Pg "Bab Bs haa However, BP major is the SECONDARY key and F major is the PRIMARY key. The relationship of the secondary key to the primary key is shown with a small arrow in the direction of the modulation and the intervalic distance to the new key. Cos fe tHARMONY 3 ow a When modulations occur within tunes, it 1s common practice to use accidentals as opposed to. changing Key signatures, Generally, the less accidentals necessary in 2 modulation, the more closely the keys are related and the more subtle the modulation. The previous modulation required only the use of one additional flat to accomplish the modulation trom F major (one flat) into 8° major (two flats). Modulations to distantly related keys are more obvious. a pe _ 7 Ft eT = rae SSS per | BT per get a The above modulation (up a half step) requires accidentals for al! the melody pitches. This type modulation, though sometimes found in tunes, is also a common device used by arrangers. The use of modulations upward tends to keep the music “forward moving’. Therefore, most modulations are perceived as occuring in an upward direction. The above example Is shown modulating from F major into F* major. It is easier however to notate and read the example modulating from F major into G° major: G7 Pee cb G7 B7 E z = SS = f] ES a= get Although written enharmonically in GP, the modulation sounds like tonic motion upward from F to F*. GP requires 5 flats, but the listener perceives the modulation as going to F* (all pitches raised a half step from F) -HARMONY 3 54 DIRECT MODULATION. Modulations may occur directly from any diatonic chord. The most common form of DIRECT modulation is from the | chord, since the | chord establishes a point of tonal finality. When the harmony modulates, the melody may or may not modulate. For example the melody may repeat while the chord progression modulates. AS seen above, however, when the melody modulates the harmonies must modulate. : . 7 7 Eng? swt uk 7 Bray? OS CT fr O77 The above example shows a modulation from the diatonic I!-7 chord directly to the new key a minor 3rd higher. DIRECT MODULATIONS FROM HATONIC CHORDS OTHER THAN | OR ISUA INVOLVE STEP WISE ROOT MOTION, = ——_____—HARMONY 3 5S PLVOT CHORD MODULATIONS. Chords which function in both the original/primary key and in the new/ secondary key are PIVOT CHORDS. Their dual functions are indicated by two analysis symbols; one in parentheses showing initial function, and one justifying the function in the new key: Zoi? Fog a —————"> ee —— ‘maj 7 Tina? Boag? oy - Erraj7 Eng? ret Fe > Ss eS 4 As Is the case for all chords requiring parenthetical analysis, the choice of chord scale for a pivot chord is based on the chore's initial function. y__Teaj? mrt xruj? The usual practice of determining chord scales by initial function is done to present the listener with a deceptive, but acceptable surprise. Therefore, a pivot chord 1s heard and analyzed first in terms of the preceding key, and then in terms of the new key to be established.- HARMONY 3 56 DOMINANT CHORD MODULATIONS. Modulations from dominant chords, like other pivot chord modulations, may exhibit dual function (deceptive resolution). Also, dominant chords which resolve deceptively will be analyzed in terms of both old and new keys. All dominant chords have an expectation for resolution. However, the different resolutions demonstrated by different types of dominant chords allow for the following root motion patterns to new keys: DOWN A PERFECT STH: V7 to Imaj7 G7 Cmaj? == DOWN A HALF STEP: subV7 to Imaj7 UP A WHOLE STEP: DVII7 to Imaj7 G7 Ami? DOWN A TRITONE: v7 to Ditmaj7HARMONY 3 s7 DOWN A MAJOR THIRD: V7 to Dimaj7 UP A HALF STEP: V7 to bvimaj7 Additionally, the expected diatonic chord of resolution for a secondary dominant may deceptively change quality and become a chord functioning in the new key: 7/11 to new Imaj7 aq Dow? (D7 expected) HI 7 V7/11N to new Imaj7 8 Ema? (E+7 expected) V7/VV to new Imaj7 cT maj? (This may not sound like + ~ amodulation since iv is a diatonic maj7 chord)HARMONY 3 58 V7/V to new !maj7 ‘7 ae D Gimaj! (G7 expected) V7/VI to new Imaj? Therefore, ANY DOMINANT CHORD MAY RESOLVE DECEPTIVELY INTO ANEW KEY. Though the other above patterns may occur, the root motion from a dominant seventh will usually be either down a perfect fifth or gown a half step or up a step. a a as rtHARMONY 3 59 Extended dominant and extended substitute dominant motion (with or without the related 1-7 chords) may eventually result in a modulation. Ling? CmajT Bie ¥ = > a OEE nas t en FIG) Zit es . = = = The same example may be used to demonstrate modulation to a different key by adding one or more dominant chords: Zngi7 a “ - Emaj7 ee —— Sate eet BEE toe Se S eT TTA ge z. The previous transition from the original key into the new key can be seen as a modulation, because all the dominant activity makes it difficult for the listener to hear the original tonic-reference. This transitional type modulation, though not very common in tunes, is an occasionally used arranging device.HARMONY 4 by Alex Ulanowsky Berklee COLLEGE OF MUSICd Berklee College of Music 1988TABLE OF CONTENTS Chapter ‘Subject Page 1 Deceptive Resolutions of Dominant Seventh Chords 1 2 Contiguous I V"s 6 3 Special Function Dominant Seventh Chords 8 4 ‘Modal Harmony 18 5 Modal Interchange 32 6 Pedal Point and Ostinato 43 7 Compound Chord Symbols 46 8 Constant Strocture Chord Progressions 6Chapter 1 Harmony 4 1 DECEPTIVE. LI S OF DO! CHORD: ‘A deceptive resolution usually occurs in one of the following situations: 1. A dominant seventh which normally resolves to a specific diatonic chord goes somewhere else, 2. A repeated pattem in a particular piece of music is changed. 3. A familiar harmonic form (such as blues) is altered with an unusual chord of resolution. ‘Of these possibilities, the first is by far the most common PRIMARY DOMINANTS. (Review) ‘The primary dominant and its substitute (V7/I and subV7/D resolve deceptively when they go to any chord other than I, V7/I resolves deceptively more often than any other, dominant 7th, and.zqually goog. to one of che following chords: Il. T-R9y SGA Sa Wi eB ‘After a deceptive resolution of V7/L, the progression usually returns to | in a familiar pattern of chords and root motion. The pattems have many variations, but the following are typical: c GT | £7 AT DT GT c £7005) Axb9)] D-7 GT c E71 AT DI G7 c ag pr De GT c ii7 Abmaj7 Dbmaj7 Abmaj7 Dbmaj7 Cc Dbmaj7 Fy eet c F709) PG ET EDT D-7 G7 c Secondary dominants and I V's in these pattems may of course be replaced by substitute dominants and chromatic I V's. A few possibilities: Gi | B? Dz De | c BT u 27 DET ET Aq a 7 Db7 AT AUT 7 DET AT at A&T DOT3 3 Chapter 1 Harmony 4 2 SECONDARY DOMINANTS Secondary dominants and their substitutes traditionally resolve down a perfect Sth or dosim a halfstep to the appropriate dfataarc chord. Any other resolution is considered deceptive, even though deceptive resoltuians are not unusual, especially in contemporary jazz and fusion music. ‘The following resolutions, then, are considered “normal”: - —s c yiit 1 1-7 suooV7 | TET ——~ — pe vinn 17 sub VIL | TT rane = ViAv 1 Wmaj7 subVIIV 1 Vai? — -- VIN IVT subV7/V 1 V7 —» == VIN YET sub | VET [An Jidireet resolution is of considered deceptive: Net beaeeeL GT VIN OWA ee —— atop oor or =! Other exceptions to these “normal” resolution pattems will be considered in a future : topic, “Special Function Dominant ‘7th Chords”. When a secondary dominant, or its substitute. resolves deceptively. the Roman numeral analysis is placed in parentheses. fmaj7 7 cy Fmaj7 ta arty __ bvtmaj7 Paaj7__ Dyers =7ADbA;? Fmaj7 + t oz Fmaj? 7 Faaj7 F ey= SG. ee = j aE _. ¢subv7/TE) — yimaj7 Faaj7 Ab? ————Adtuaj7 cy Fmaj7Chapter 1 Harmony 4 8 Please note that arrows and dotted arrows show the actua/ resolution of the dominant 7th (down a perfect 5th or down a half-step), and that parentheses only are used to indicate deceptive resolutions. In the same way, brackets and dotted brackets show the actu! root motion for II V pattems, and are not intended to indicate deceptive resolutions. F vy 7 Fmaj? G7 on S7 257 WWIIY) 2 Ey Fmaj7 G77 Fmaj7 4 Bae = # ft ot subvV7/Y = =, goajr“3bT~ ena}? ape = f (oppy7yyy Fnaj? "DB? Deo? oy? SEg= = ¥ t T subv7/¥. H Faaj7 Db77 £ rz +r a 4 : ° 7 ‘A complete analysis for the examples above would use the Roman numeral I-7, for G1 (the diatonic II-7), but not for DL-7, The technical term for D8-7 would be, “the related Il-1 of subVi/i," but a bracket or dotted bracket is suificient. The analyses below are complete: vist FB Emaj? VI/V Imaj? Fnaj? G7 7 C7 naj? U7 subv7/T Ina}? (SubV7/Y— “Gy G7 = = 1maj7 fmaj7_——DBT Gey cee >Pmaj? = : - + z Imaj?_ (subv7/Y}-—————__subv? Imaj? Fmaj7 — Db7 ib oo -MEEe? Gg tmaj? VI Imaj? 4 + Fnaj? Faaj7 G7 ?Chapter 1 7 Harmony 4 4 Some deceptive resolutions are only slightly deceptive and very subtle. For example. secondary dominant may resoive to the correct root, but the wrong chord Zype. In the keyofB®, A7 is VIAL which normally resolves to I1I-7. yrstry TEES? VT/TE abmaj? al) ce F7 Bbnaj7 If VI/III resolves to a dominant 7th on the same root, a parenthetical analysis is required. ea civ, Pittmai7 Bomajy AJ=— DI => SDbue iT __ Ce? 87 Boma}? 4 se T ROOT MOTION: In contemporary music, the most common forms of root motion in deceptive *-~ resolutions of secondary dominants are, 1) up ahalfstep, 2) upa whole step, and 3) not ahalf-step. For example, V7/V may normally resolve to V either directly or indirectly. ‘The examples below show three common deceptive root motion patterns from V7/V, Imaj7 on) bItimaj7 Ebmaj7 F7 Gbmaj? Imaj7 7) II-7 Ebmaj7 7. gr C7 F-7__8b7 Pod a = Imaj7 cv7/¥) bIimaj7 Ebmaj7 F7-7 8maj7 B-? £7Chapter 1 Harmony 4 ‘MODULATION A deceptive resolutioa sometimes results in a modulation. When this occurs, a pivot chord analysis becomes necessary since the dominant 7th chord assumes a new ‘meaning in the second key. The example below includes a pivot chord modulation from F to AD, as well as several other deceptive resolutions of secondary dominants. Root motion pattems are typical. (VT/VI) F Imaj7 4-3 Abr subW/T ragj7 fa} op rag AziRsd-~ eu bad |7 m7 i ee 7 = = = + + $ abmaj7? 79) Dbmaj? p-7605) G79) gomayy gy 6b13) e : 45 — a = = Emaj7__ eb7‘"9) Abmaj7 SS CHORD SCALES ‘The chord scale for a deceptively resolving secondary dominant is derived from the parenthetical analysis, regardless of its resolution. This remains the rule, even in a modulation. In the preceding example, the A7 in the second measure takes a chord scale for VIVI Mixolydian 9, 513 or altered), 0¢ Lydian P7 for subV7/I. ‘This application of chord scales remforees the original meaning of the chord, and therefore enhances the deceptiveness of the resolution. Although occasional exceptions to this principle can be found, it is nearly always the ‘most effective way to treat deceptive resolutions.Chapter 2 Harmony 4 6 CONTIGUOUS _11_V's ) The 1 V pattern is sometimes used in ascending rather than descending motion, When this occurs, functional analysis Roman nuperals im a ke) is no longs relevant. The chord progression is justified on the the basis of continuity and ‘\repetition in the melody, harmony and root motion. This is known as C “nor-fimetional” analysis. In the following example, the E-7 A7 pattem is contiguous to (or “next to") the F-7 B®? pattern, bat has no fictional relationship to the other chords in the key of ED, Itis therefore called a caatiguas II jrocConeiguous-~ VID, imal? ie? ay a7 Bb? |S ebnaj7 A contiguous II V is usually a whole or half step away from another IT_V which is analyzable in a key. In the preceding example, the E-7 was a haif-step away from the ~* F-7. In the following example, the A7 is a half step away from the BE7. j--Conesguows-- a i wit t32}7 gy Bs Soe EE ees ‘A contiguous {I ¥ may be interpolated in an otherwise functional progression. in these cases, the dominant 7th chord frequently resolves in a normal way. In the following eames, the ATT pattem is reharmonized with a contiguous VG 7 DD?) which does resolve to the next II V. gry-729) : Fr 7y5) W-6 | UE-7VI/IE B79) Bb-6 ag? eT o7 Fnej? eee : (05) He oy subv7/¥ = =. B-7 Bo-6 = A-7-— B=? G7 CT Fmaj7 (bs) aiy-79) B=7°P5) Bb ab-7 Fnaj7 Se a= TChapter 2 : Harmony 4 7 ‘The next example involves a series of ascending Il V's. ‘The final example combines contiguous If V's with modulation and deceptive resolution. rie? wit tnei7 F 37 b0a57 La at iguous--~~ Myye7 *eevri7) T wit | Agee Bb? I ae ESS = = wt ; 1maj7 Dbaaj7 67 a + =4 Chapter 3 Harmony 4 8 ‘SPECIAL FUNCTION DOMINANT SEVENTH CHORDS ‘The word “dominant” in harmonic theory can refer either toa type of chord orto the function of a chord. C7 is a dominant 7th (chord type), and as V7 in the key of F, it also has dominant fiction. As 17 in blues in C. however. it has fomic lars ‘fonction. 17's therefore a special fmction dominant seventh. ‘A dominant seventh w7Z# dominant function normally resolves directly or indirectly. to another chord whose root is down a perfect Sth (arrow) or down a half step (dotted arrow). x Direct Resolution: | 4:7 Ab7 {1 G-7 C7 1 Fimaj7 li o™ MN 1 ATD7 16,7 GON Fmaj7 1 tee Indirect Resolution: | D-7 D7 | Db-7 GOT | Fmaj7 ti act tta o™ 1 D7 DET 1 G.7_C7 1 Fmaj7 1! t_G Substitute dominant finction is a kind of dominant function, and is not considered ‘A chord with dominant function may also resolve deceptively without changing its functional analysis. F wavy WIN) swbVTE - ert a ana en | Fmaj7 AT | BomajT GT (G7 "Gh 1 Fmaj7il T1and IV7 ‘Specia/fanction dominants, on the other hand, are not deceptive resolutions. 17 in the blues sounds like the tonic chord, and IV7 sounds like the subdominant chord. 17: Tonic blues function IV7: Subdeminant blues function (v7 eta diatonic to melodic minor, and has subdominant function in that context as well. “EChapter 3 7 Harmony 4 9 The following examples use 17 and IV7: 7 17 7 7 Blues: C7 FT 8 3 4 AA 4 —t — Le SSS a = 4 te Ty bs 17 1-6 wa -6 caine: 6-6 er) Ry EE a6 ————— s = aa SSS es 1 Another special fiction dominant, PVII7, is derived from natural minor, Nature] miso: uri Se | bVIIT normally resolves to I, and is closely related to the IV- chord in natural minor. ee root of PVIIT is placed below IV-6, the resulting structure becomes b Ff VIT7. 1v-6 Cminor: 3; p79) eo Since IV- (or IV-6 or IV-7) is the subdominant chord in natural minor, other chords closely related to it have subdaminant minor fimetion. Therefore, when either IV- or DYII7 resolves to I, it is called a subdominant minor cadence. DVII7: Sabdominant minor function. f TV-7 and DVII7 are frequently used together in a subdominant minor pattem. SDM SDM* i Wt WOT F 1G 17 BbT IG OH * SDM means subdominant minor.Chapter 3 Harmony 4 10 ‘Two other diatonic natural minor chords are related to IV-: 11-7005) and bVimaj7 in-7'23? Putmaj? 3 (0) Nacurg] minor:0-7 Abnas?7 SSS J1-7(5 has the same chord tones as IV-6; ‘bVImaj7 can be seen as an extension of IV-7. 11-725 C minor: 5.5(b5) 1-6 >ytmaj7 1-7 ‘These chords all have the common tone 55 (AP in the key of C minor), and all are subdominant minor. Only 5VII7, however, is a special fiction dominant 7th. som SDK. sp4 SDM SDM 7 Tl7, Ww-7 by tmas? Teepe) ‘The process of modal interchange allows diatonic minor key chords to be used in the parallel major key (see Harmony 2). Subdominant minor chords are often used this way, especially in strong cadential patterns such as the one below. inaj7 va Waa}? ena}? e-7 Cho Ena? ‘SDM = ees ter OSPF tmay7 FT Bb7 cnaj7 (Please note that the C7 above falis on a weak beat and functions as VI/IV, not as i tonic blues chord).Chapter 3 Harmony 4 ul tym: bVI7 is usually analyzed as subV7/V, with substitute dominant function. sub VIV i a ay | Cmaj7 A-7 1AbT GT! Cmaj7 1! The same chord, however, has a ly common resolution to I of the key, creating a special function cadence: PVIT to I. ‘The BVI7 chord is originally derived from chromatic harmony of the 19th century. Chromatic passing tones used between familiar voicings created fresh new melodic and harmonic sonorities such as the augmented 6th chords. The simple voicings below show a familiar pattem. In this example, traditional figured bass indications appear below the bass notes, showing the intervals between the bottom and upper voices. For an 18th or 19th century barpsichordist, the bass notes and figures were “chard symbols.” sufficient to indicate this cadence from IV to I in C major. Below, chromatic passing tones are added in the top and bottom voices creating an augmented 6th, The resulting voicing was calle an Italian augmented 6th chord, ‘which; spelled enharmonically, equals an AP7or PVIT in the key of C. wo obyi7 ot F/A cis 2) F/a ab? C/G = == T SS 7 augé | | | -— —_——a i Chapter 3 et Harmony 4 12 In contemporary practice PVI7 can resolve to | in either root position or second inversion, but it must resolve to I. The same chord resolving elsewhere is analyzed as subViV, as usual. ‘The root of bVIT is the scale degree (b6) which all subdominant minor chords have in common. VI7 is therefore closely related to the IV- chord, although not diatonic to a minor key. Since the 7th of the chord is not in natural minor, UVIT has affered subdominant minor function. yr 27 7 is similar to bVIT in several ways. It shares the same tritone, and is normally analyzed as V/V, with secondary dominant function. The chord is analyzed as IIT primarily when it resolves directly to 1, and this resolution involves tic motion from #4 to 5 of the key (comparable to the augmented 6th passing tone in PVI7). qty F/a D/A C/G = | root) =e IIT is even more closely related to *IV-7(P5) which, although not a dominant 7th, contains the same tritane, almost the same chord tones, and often uses the same resolution pattern to [ over its Sth. 7 Wie arver(as) 2 7 D be AeT/G HHA7(05) 6/6 a’kn Aric BURY GGChapter 3 ~ Harmony 4 13 Like #1V-7(05), a first inversion of II7 can also resolve with bass motion chromatically down to IV or IV-, ‘The following resolution patterns, then, are available for [I7: 1. IIT over its 3rd (Ist inversion) may resolve to I over its Sth (nd inversion) ar to TV or IV-. 2. 117 in rect position may resolve to I or [ over its Sth.Chapter 3 Harmony 4 1s If the same chord resolves in some other way, it is analyzed as VV. key of Cr wi 1171-6 1! maj? A-7 er *Db7 DI/FE P-6 a ee TT i I I | 7 f 17 z An (waj7)io# — &7/G_ 07 oc a7 or HD [EET Lr | Lo i 1 SS c= HE =e 2D ee r i | 7 T | i ee | 2 = Sores HE: f = = 7 TChapter 8 - Harmony 4 15 UT is related to [V major and av: (85) by both common tones and resolution pattems. Although nondiatoic | ie is in the major key subdommant area and bas altered subdomipant major fanct e wwiadic form of II major is also used, especially as a substitute for ‘yer ’i3in the melody (a difficult note to voice). ary- 7? 1 ey of F we) Bs» tT set lie D7 p-q/e Bb D7 1 , S/3__ Bes var: a ‘The dominant chord on VII is usually analyzed as V7/IL, with secondary dominant function. v7 /a12, (a anes,Chapter When this chord resoives to [ from a weak beat of short duration, it is sometimes simply a deceptive resolution of V7/Ili a (W7/TIL) + 88 88 a %,) — 2 4 i J i c= = see 7 % $ oe / ra ee = = r Se f = However. when the chord has a more prominent harmonic rhythm and resolves directly fo f, it is analyzed with special femction as VII7. vir? : Cuaj7 | B7 Caaj7 | | = = = r : 2S uaa SS ai 2 pe | oa | = i = t = aq Since VII7 is not associated with any particular area within the key, its fmction is simply csdentia/. «The primary difference between {IIT ang W7/IIT is that VIIT normally takes tensions 9 and #15. while VHT takes 59 and 913.Chapter 3 Harmony 4 Ww Sabdominant Melodic minor bVIIT —- Subdaminant minor byI7 Altered Sabdominant minor HT Altered ‘Subdominant Major V7 Cadential Blues, Mixolydian, Lydian 67 Blues, Mixolydian, Lydian ©? Lydian 57 in Major ‘Misolydian in minor Lydian b7 Mixolydi pecsily yan 7 Lydian 67 or Mixolydian VIAV subV7AL subV7/VI subViv viv vami oui Chapter 4 Harmony 4 18 |ODAL. (ONY All diatonic harmony can be called “modal” in the sense that it is derived from a given tonic mode or scale. The modal name for our major scale, for example, is Ffonian’. one of the medieval charch modes. When we refer to “modal” music, however, we mean music based on somewhat less familiar tonic modes, such as Dorian or Phrygian. MINOR MODES A review of the comparisons among the standard minor scales (or modes) is a usefttl starting point. You will recall that the diatonic triads and seventh chords from all three tonic minor scales are freely interchangeable in minor key chord progressions. They are listed below. v7 viaa57 2 HARMONIC MINOR i i * 4 new diatonic chord * ri ue Prine wwe Pvr vere & 48 Se #8 re(mag7) 12-765) Oprrmag 745? rw-7 nae vImag7 yrrey ‘ rg) be. a= Br - oH SS Harmonic minor iY € MELODIC MINOR (ascending) atthe di ceae tes teetettt to barr ow vo vie vite ’ & — Ss 2S be = I-(maj7) 1-6 1-7 Prrrmag7 #5? ry7 v7 vre76B5) yrt-7° é (gs rates 3 ae: ZeChapter 4 Harmony 4 ~ 19 Functional classifications are not absolutely clear cut in minor, but they are still based on the Tonic (D, Subdominant (IV), and Dominant (V) chords. I minor and DA major chords are Tonic. V7 and VIE*7 chords are Dominant. IV, 1, VI and VII chords are all Subdominant. Harmonic cadences in minor keys are based on motion from Subdominant and/or Dominant chords to Tonic. - SDM. vi/tv_. v-7 PF] ——> 5b-7,aa Chapter 4 Harmony 4 20 OTHER MINOR MODES Any mode containing a minor 3rd above the tonic is considered minor. Although many different minor modes are available, the discussion here will be limited to Dorian, Phrygian and Aeolian. These are traditional church modes. with names from ancient Greek usage, frequently found in contemporary Westem harmonic practice. ‘The modal gaslify of any of the less familiar modes is determined by a characteristic ‘ote: the note in the scale which makes it different fram natural minor (or different from fonian for a major mode). Dorian: The characteristic note of the Dorian mode is 16. ¢ Natural siner € bortan . : g =e a oF os 6 The Dorian mode is like a natural minor scale with a raised 6th, Tt can be found on the white keys of a keyboard by starting on D. aL D Dorian > Nacurel minor 2 & = § ‘The accidentals for C Dorian come fram BP major, its relative major. The relative major of D Dorian is C major (no accidentals), a major 2nd below. Because Dorian gets its modal quality from the characteristic note } 6, most diatonic chords which cantain that note are called chanscleristic chords . It is important to remember that we are not using “Dorian” as the name for a I-7 chord scale here; we are referring to a famic mode. Listed below are the diatonic triads and seventh chords in the £ey of C Dorian. eee c 17 ti-7, Prrtmaj7 V7 wt vr-7°5) yrtaaj7 Se éChapter 4 Harmony 4 2 "T" means Zanic. The letter "C* denotes 2 characteristic chard, and “A* means an avoid chard. *CIA" denotes a chord that contains the characteristic note, but is only sometimes modal sounding. Unlike standard minor key harmony, modal harmony does not use subdominant and dominant categories. The I chord is tonic and the others are non-tonic. Characteristic chords establish the modal flavor, and a resolution from a characteristic chard to I is a modal cadence. ‘The diminished triad and the minor 7 (65) chord are avoided in modal chord progressions, even when they contain the characteristic note. They are quite unstable, do not resolve effectively to I in these modes, and may imply the relative major key instead. ‘The following progression establishes the sound of C Dorian effectively. C Dorian i-¢g, 11-7 2o1tmaj7 co D7 Bbmaj? On ‘The bVIimaj7 was introduced in Harmony 2 as a non-diatonic cadential chord, frequently used in modal interchange to the parallel major key. The chord can now be derived from the Dorian mode. However, when it is used in a mazamods/ major key progression, it is considered subdominant (related to the IV chord). sD 82 Fmajor naj? VI-7 wuaaj? Pyitmaj7 mag? Peal? "D-7 fea}? fbmaj? ‘Fal? e = | ‘The next progression fails to establish C Dorian, even though it is “technically” correct. »f ca © an? 1-7 'vIImaj7 v7 7

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